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A TREATISE ON 

EMBROIDERY 

WITH TWENTY COLOR ILLUSTRATIONS 
FROM ORIGINAL MODELS 

EDITION DE LUXE Art Needlework Series Number 8 



This book is arranged for the 
use of those who desire a more 
thorough understanding of the 
art of embroidering with silk, and 
as a guide for those who may 
wish to teach, 



COPYRIGHTED AND PUBLISHED BY. 

M. HEMINWAY & SONS SILK CO. 

NEW YORK PHILADELPHIA CHICAGO SAN FRANCISCO 



PRICE FIFTEEN CENTS 



30 *W 

Copyright Entry 

A XXc„ No. 
(27 V6 3 
COPY D. 






Descriptive List of the 

VARIOUS ART NEEDLE=WORK SILKS PRODUCED BY 

M. HEMINWAY & SONS SILK CO. 

Are all of the Celebrated Oriental Dyes, Insuring Permanency and 
Brilliancy after Laundering. 



Japan Floss.— The finest size thread made and one that is universally 
used for flower work, where close shading is required. 

Spanish Floss.— About double size of Japan Floss. The silk is especially 
suited for scallop work on doilies and centre pieces, and is also 
recommended for cross-stitching on conventional designs— it is not 
too heavy for shading large petals, and is preferred by some 
embroiderers to accomplish quick results, where close shading is not 
an important feature. 

Turkish Floss. — A very glossy silk about double size of Spanish Floss 
soft twist. The efTects produced with this floss have all the beauty 
of Japan Floss. Applicable for large designs on heavy materials 
for sofa cushions and table covers. 

Twisted Embroidery. — A practical heavy embroidery thread, firmly 
twisted, suitable for embroidering flannel and all general work 
where a floss silk is not required. Adapted for button -hole stitch 
on edge of linen centre pieces. 

Japan Outline Silk.— A fine size twisted 'embroidery silk for outlining 
and button-holing on infants' sacques and underwear. 

Japan Cord i net Silk.— Reverse twist from Japan Outline Silk, made in 
white for Honiton lace work. 

Rope Silk.— Very heavy size embroidery silk ; suited for large scroll 
designs on heavy materials. 

Mount Mellick Silk.— Made in pure white and blue white, four 
sizes : FF, G, H, HH, the latter heavier and harder twist 
than Rope Silk, 

^/— V \ / • 




Ki 



Introduction* 

In presenting our series No. 8 Treatise on Embroidery, it has been our 
aim to give as much variety as possible in the limited space allotted. 1 lie pages 
on stitchery will be found most complete, many additions being made to the 
most popular stitches shown in our last book, and all so clearly pictured, but 
little explanation accompanies the illustrations. 

In the twenty color plates, the best possible results have been secured, per- 
fection is rarely attained. It is impossible to give natural coloring in any 
particular flower, only general tone, and the "subtle gradations so difficult in 
painting, cannot be expressed in photographic proofs from hand embroidery. 



M. HEMINWAY & SONS 



The Opportunity of the Needlewoman* 

In the preparation of this book the writer has constantly had in mind the 
importance of making the instructions so plain and the illustrations so clearly 
defined, that any lady may by close application, be able to execute without trouble 
all the handsome examples of art work shown herein. Should any difficulty 
be experienced, and a teacher of embroidery not be convenient to consult, the 
publishers of this book will cheerfully, through the correspondence department, 
give any information desired. ' 

Many ladies earn a competence by giving embroidery lessons and selling 
materials to embroidery workers. 

One who is able to give instructions in stitches, can with a little exertion 
organize a paying class of pupils. The work indeed might be enlarged to em- 
brace plain sewing, knitting, crocheting and mending. Attention is particularly 
directed to pages 79, 80, 81, 82, 83, 84, 85, where are illustrated several small 
novelties suitable for Christmas, Easter, Birthday gifts, or Whist and Euchre 
prizes. 

For much of the material which has entered into the composition of this 
book, the publishers are indebted to Miss Grace A. Luther, 

Embroidery Hoops* 

Rings of embroidery hoops should be frequently rewrapped. It is not 
unusual to see hoops in the hands of apparently dainty women so dirty they are 
a disgrace to her cleanliness, not to speak of the ruinously black lines they leave 
on the work. 

The best covering for hoops is a very thin tape about an inch wide, wound 
so that one edge just barely laps over the other. As a whole bolt of tape may 
be bought for a few cents, there is absolutely no excuse for dingy coverings. 

The silver rings in vogue several years ago are really not very practical. 
If wrapped, they had much better be wood, and if unwrapped, the inevitable 
tarnishing, unless the greatest care is exercised, will leave ugly stains on delicate 
materials. 

The two parts of the embroidery hoops should fit so tightly that a certain 
amount of pressure must be exerted to fit them together after the work is 
spread on them. Fit the work smoothly over the lower ring before putting on 
the top. If there is the slightest wrinkle, or the work sags, the effect is much 
worse than if no hoops were used. 

Attention is directed to the "Practical" Oblong Embroidery Hoop, illustrated 
on page 16. 

How to Press Embroidery. 

Work done on a frame is usually straighter and less apt to be puckered 
than that done over the fingers ; but even then fine linen will often draw a little 
under close embroidery unless done by a skilled workwoman. If the embroidered 
article you wish to press be of linen, use a table or board made soft by 
two thicknesses of blankets and covered with a clean white cloth. Lay your 
work upon it, wrong side up, and be careful to keep the edges very straight. 
Dampen a sponge and rub gently over the article until it is quite damp, and press 
with a hot iron, which should be most carefully tested to see that it will not 
scorch, and also that it is absolutely clean and smooth. If there is any uncer- 
tainty about the condition of the iron put a damp cloth over the embroidery and 
press through that. 



BLEACHED LINEN 



Embroidery done with floss or silk should be kept as neat as possible, so that 
washing may not be necessary at first, as there is danger of the embroidery 
becoming roughtened and the threads pulling. Work done on silk or satin must 
be pressed with a cooler iron than on linen, for it is more liable to scorch — and 
besides some colors of silk fabric may fade from too great heat. It cannot be 
dampened, either, as that would stiffen the silk; but if the embroidery is heavy, 
and the work puckered badly, the embroidery itself may be moistened slightly. 
Always remember to press on the wrong side. 



How to Distinguish Chemically Bleached Linen from 
Grass Bleached. 

Really excellent hemstitching cannot be done on poor 
linen. The better the linen the better the design and 
durability of the hemstitching. When the threads of the 
linen are strong and round, the stitching will be clear 
and well denned; when the threads are angular, weak 
and uneven, the stitching cannot be artistic nor perma- 
nent. This applies to embroidery also. The quality of 
the linen depends upon the manner in which it is pre- 
pared. The process of bleaching flax by chemicals is 
much cheaper and quicker than that of bleaching by ex- 
posure to the air. But the fibres are weakened by the 
acids, frequently oxalic acid, used in the process of 
bleaching. The grass bleaching does not impair the quality of the fibres. Grass 
bleaching is more expensive, because it takes more time and requires more care, 
but the difference between the two is not more than one or two cents a yard for 
the embroidery linens. 

The large sale of the chemically bleached linens is due as much to the lack of 
knowledge as to the cheap prices and a whiter shade. An examination and com- 
parison of the two qualities of linens, the round thread art linens with the 
chemically bleached art linens under a microscope, shows that the needle cutting 
through the chemically bleached, leaves broken and ragged 
threads like the 'first illustration "herewith; while a punc- 
ture of the needle in the grass bleached, round thread 
linens, shows that the needle has simply separated the 
threads by passing between them, as in illustration Fig. 2. 
In one case the threads are bent; in the other the threads 
are broken. The fibres of the chemically bleached linens 
are uneven, brittle and inferior, while the fibres of the 
grass bleached linens are practically unimpaired, so that 
when the needle is withdrawn and the cloth rubbed an 1 
pulled, the threads of the latter resume their former posi- 
tion, and the cloth will be as good as ever. 





































































































1 
































































































. . 







Fig 1 




Fig 



For Table of Contents 
See Page 98 



M. HEMINWAY & SONS 




PLATE NO. I. 



ART NEEDLEWORK STITCHES 7 

Steps m Stitchefy. 

Description of stitches illustrated at Plate I. 

1. Outline Stitch. — Work from left to right on line to be embroidered. 
Bring needle to right side of fabric, take stitch of required length, bringing 
the needle back, with a back stitch, to right side of fabric, midway and close 
to the left side of first stitch. Repeat indefinitely. Stitches must be of equal 
length and needle always brought up on the same side of each succeeding 
stitch. Some workers insure an even line by bringing the needle when finishing 
the back stitch, out from the same hole pierced when forming the last stitch. 
Length of stitch naturally depends upon the size of silk employed. 

2. Thick Outline Stitch. — Proceed as above, save that stitches are carried 
at an angle across the line to be embroidered, instead of directly on it. This 
stitch when wide, is slanted satin stitch. 

3. Twisted Outline or Reverse Couching, consists of evenly run stitches 
following the given line. A second thread is wound back on the surface by 
passing under each stitch. It is well to use the head of the needle when 
passing under the running. 

4. Cable Stitch or Twisted Chain. — The illustration is the least confusing 
instruction for this very useful stitch. From this we see that when thread 
and needle are brought to the surface, the thread is held down with the thumb 
of the left hand, the needle is then slantingly inserted at right of thread, 
brought out at left, and pulled through. The second stitch repeats the pro- 
cess, the needle being inserted on a line and to the right of the finish of last 
stitch. 

5. Beading Snail Trail or Knotted Outline.. — It may be made exactly 
like the last, only with longer intervals between stitches, or else the needle may 
be passed under straight, from right to left, instead of at an angle. See 
illustration. 

6. Raised Rope Outline is also the same stitch, the needle inserted at an 
angle and immediately beneath the foregoing stitch. 

7. Broken Chain Cording is made by holding down the thread with 
thumb, inserting needle just below and to rigjit of starting point. Bring out 
needle about an l /% inch below and in line with starting point, pull through, 
forming loop. Repeat, inserting needle to right and outside of loop. 

8. Chain Stitch commenced as above but needle is inserted in same 
hole as starting point, that is, inside of loop. 

9. Zigzag Chain. — Same as above, save that needle is inserted at an 
alternating angle instead of up and down. 

10. Knot and Chain Stitch is made very large in the cut to illustrate the 
method. In commencing, having brought thread to right side of fabric, hold 
it down with thumb. Place point of needle to left, under silk so held, and 
twist in a loop. Insert at right of silk and bring out again % inch below and 
in line with starting point. This forms a long loop with a tight coil at 
top. Again hold silk, twist loop and insert to right and outside of last loop. 

11. Knot Drop or Gordian Knot Stitch somewhat resembles beaded out- 
line at first glance. The method is quite different however. Bring silk to 
right side of fabric and hold down with thumb. Pass point of needle under 



M. H E M I N W A Y & SONS 




PLATE NO. 2. 



ART NEEDLEWORK STITCHES 



and over silk from left to right and take up small stitch on outline, throw- 
silk to left, around point of needle and draw taut. Make second knot %, inch 
below first. 

12. Double Beading commenced like No. 5 but worked in zigzag line. 
When the silk is held down for the right hand knot, the needle is inserted slightly 
downward from right to left. For left hand knot, it is inserted from left to 
right. 

13. Link Stitch is a variation of chain stitch. The first link is made 
like No. 8, when the thread is brought to the right side of the fabric at base 
of link, it is held down and the needle passed under and over it in the man- 
ner of No. 11 and inserted % inch below the base of first link, to be brought 
out again, in a straight line J4 mcn below. Here throw thread to the left, 
thus forming a large and a small link. See illustration. 

14. Scaling Stitch shows a line of parallel straight stitches. A second thread 
winds over these, scaling from one line to the next. 

15. Heminway Cable Stitch. — The illustration amply instructs in this 
stitch which analysis shows to be the knot drop stitch slightly modified. The 
stitch taken, after winding thread around needle, is longer and at right angles 
to stamping line, — that is the sole difference. 

Description of stitches illustrated at Plate 2. 

1. Loop Bullion Stitch. Bring silk to right side of fabric, insert needle 
again as near as possible and take up % inch stitch. Now wind silk around 
needle (as shown in illustration) about ten times and draw through, holding 
the coils in place as needle and silk run through them. 
The length of coils made being greater than the stitch 
the bullion is looped. Bullion stitch requires a little prac- 
tice to ascertain how tight to wind and hold the silk. 

2. Double Bullion is simply two bullion stitches 
placed side by side and slanted, alternating groups 
slanting in the same direction. Wheat bullion is double 
bullion with two groups placed close together at their 

0%^ ¥) bases, and slanting away from each other at top, follow- 
% \ ing the formation of wheat. 

3. A central outline with bird's eye stitches each side. 

4. Line Couching. — A desired number of strands is 
brought through from the wrong side and held while a 
single strand holds them in place by means of seed 
stitches at regular intervals. 

5. Cat Stitch. ■ 

6. Bullion Box Stitch is made by placing bullion 
stitches as indicated in the illustration and then finishing 

with the cross and straight stitches seen at centre and sides. 

5. Cat Stitch. 

6. Bullion Box Stitch is made by placing bullion stitches as indicated in 
the illustration and then finishing with the cross and straight stitches seen at 
centre and sides. 

7. Zigzag Knot and Chain, combined with French knots makes a deco- 
ration stitch. (Compare No. 10, Plate I.) 




BULLION STITCH 



10 



M. HEMINWAY & SONS 




PLATE NO. 3. 



ART NEEDLEWORK STITCHES u 

8. A development of two stitches already described. The three steps in 
its development may be seen in the details illustrated. After the silk is 
brought to the right side, it is held down, the needle point is slipped under 
and over the silk from left to right, inserted close to starting point and 
brought out a quarter of an inch below, forming a loop indentical with No. 
10, Plate I. The silk is then carried to the right, held down and %. inch from 
base of loop a short stitch is taken up from left to right under the held down 
thread. See a. Here we had No. 5, Plate I. Next this last stitch made 
through the central loop, see b, then again *4 i ncri to the left. The stitch is 
repeated for a 3d time. Now holding down the thread, insert the needle just 
below the central loop, bringing out % inch below, this last is a repitition of 
the first made loop. 

9. Rosebud Bullion needs no description to anyone familiar with bullion 
stitch. 

10. Commence as in No. 8, then fasten down the base of first loop with 
small seed stitch, bring out the needle in a line and *4 below. From here 
make an upward pointed bird's eye finishing just below the first with its seed 
stitch passing over the base of first loop. Bring out the needle at beginning 
of bird's eye stitch, and make two more of them, one to right and one to 
left. Repeat from beginning. 

11. Satin Stitch. 

12. Whipping. — This stitch must be worked over a double line of run 
stitches placed for filling along an outline, then work over and over, taking 
up as small a stitch as possible on the needle. Some people merely hold 
strands on the surface for filling instead of running them in but it is far more 
difficult to maintain an even line when working in this manner. 

13. V Stitch. — Bring thread to right side of fabric, hold down, insert 
needle Y\ inch to right, bring out in centre and a trifle below, insert again, 
making a seed stitch, which holds in place and forms the V, repeat. This 
stitch may also be used for surface covering stitch, if lines are repeated close 
together, or succeeding lines may be worked in opposite directions, the Vs 
fitting in between each other. 

Description of stitches illustrated at Plate 3. 

1. Blanket Stitch. * 

2. Double Buttonhole. — A second row of buttonhole stitches is placed 
between those of the first. They may form a shell or plain edge. 

3. Ribbon Stitch. — Two rows of buttonhole stitches are placed opposite 
each other, stitch between stitch — see illustration. The buttonhole stitches 
may be close together, or separated. When close together the work looks like 
satin stitch with an outlined edge. 

4. Fence Stitch shows succeeding rows of buttonhole stitches worked 
each just below and a little to the left of the last. 

5. Tent Buttonhole is simple buttonhole slanted, as illustrated. 

6. A Surface Stitch formed of the above. 

7. An attractive development of No. 5 formed by placing succeeding rows 
close below each other. 

8. Pointed Buttonhole. 
0. Box Buttonhole. 



^J^MJJ^WAY & SONS 




ART NEEDLEWORK STITCHES 13 

Description of stitches illustrated at Plate 4. 

Plate 4 illustrates simple and useful stitches for surface covering. A 
frame or hoop should always be used when covering surfaces. 

No. 1 is seeding, which is merely short, even back stitches placed at regular 
intervals, succeeding lines having the back or seed stitch midway between 
and of adjudged distance below the seeds of preceding line. 

2. Buttonhole bricking shows groups of two close buttonhole stitches sepa- 
rated by intervals. Stitches of succeeding lines fall naturally in these intervals. 

3. Satin blocks are worked over parallel lines of stitches as shown by 
illustration. 

4. Honey comb stitch consists of a row of short, separated buttonhole 
stitches. A second row has its stitches placed midway between and a little 
below those above, thus pulling the thread down in a point. Each row proceeds 
in like manner. The stitch must be regular and not so tight as to pucker the 
foundation. 

5. Single caning shows a frame-work of evenly spaced horizontal and 
vertical stitches forming squares. The silk is then woven diagonally through 
these. If the needle is invariably passed under the under cross bar and over 
the upper, there will be no mistake in the interlacing. Diagonals may be run 
in both directions if desired, and in this case the effect is very pretty if car- 
ried out in two shades of silk, one for cross bars and one for diagonals. 

6. V or scale stitch may be placed as close together as desired. 

7. Teardrop is bird's eye stitch placed in rows, and is most effective 
when stitches are placed midway between spaces of preceding row. 

8. Brick stitch shows a long stitch on right side and short one on wrong. 
The second row has upright stitching ending between long stitches. If prefer- 
red these uprights may be slanted instead of straight, but all stitches must be 
even, and if slanting stitches are used they must be all at same angle. 

9. The upper left hand portion of No. 9 illustrates Surface Darning. 
Stitches laid in one direction are crossed by others at right angles and are 
woven under one and over the next. The lower corner illustrates diaper 
couching. An even cross bar is first made as for caning. The threads are 
then caught down with a seed stitch at each intersection. Seed stitches may 
run up and down or crosswise, as shown. They may also form a cross if 
desired. Two colors are generally employed for couching, one for crossbars 
and one for seed stitches. 

10. Solid couching shows the surface covered with satin stitches. Stitches 
cross these at regular intervals, these may be single, as illustrated, or in groups. 
These are in turn caught down with seed stitches. 



H E M I N W A Y 



SONS 




PLATE NO. 5. 

Description of stitches illustrated at Plate 5 



fane, stitch es, a„ -^st^^tp^^ 



ART NEEDLEWORK STITCHES 



i5 




Outline— Feather and 

French Knot 

Stitches. 




A Page of Stitches 

Suitable for 

Mount Mellick 

Desigfns. 




Double Outline with 

Herring Bone 

Centre. 




Chain Stitch with Net 
Stitch Centre. 




Pyramid Stitch. 



Conventional Feather 




Eyelet Embroidery 

Everywfcere, and on all styles of garments, from whole costumes to separate 
pieces of lingerie, we find at present the very popular eyelet work figuring as the 
chief decoration. 

It has the charm of extreme 
simplicity, both in design and 
workmanship, but herein lies a 
serious pitfall for the careless or 
unwary worker. The very sim- 
plicity of the method of execu- 
tion leaves no chance for con- 
cealing defects in complications 
of curves and stitches; therefore, 
it must be most carefully done. 
The implements required are 
a medium-sized needle, a pair of 
sharp-pointed scissors, an em- 
broidery hoop and a stiletto. 
Though the hoop is recommend- 
ed, better and quicker results can be obtained without a hoop. 

The designs usually consist of groups of oval 
and round disks, so arranged as to form circles, 
festoons, wreaths, etc., and these are occasion- 
ally embellished by insertions of point d'esprit 
or Brussels net, when the openings are large 
enough to warrant it. 

A pretty addition to such work is the intro- 
duction of the filled satin stitch, or what really 
constitutes French laid work ; and with a b utton- 
holed edge a quite elaborate piece of embroi- 



Fig. A 



Heminway's "Practical" Embroidery Hoop 



G> 





Fig. B 





Fig C 



Stiletto and Scissors 



dery may be evolved. 

This style of decora- 
t i o n is particularly 
well adapted to stocks, 
collars, shoulder capes, 
shirt waist sets and 
flouncings for skirts. 
Eyelet work is exceed- 
ingly durable, and if 
well done will last a 
lifetime. In proof of 
this many women can 
show fine examples of 
the work w T hich are the 
handiwork of their 
grandmothers, for a 
generation or two ago 
it was almost the only 
style of fanc) r work in- 
dulged in during leis- 
ure hours. 

The cuts herewith 
shown indicate quite 
plainly the various 
steps in the process. 
Almost anyone can 
draw a design in pen- 
cil on the silk or linen 
selected for the work, 
although it is generally 
preferable to have it 
stamped. 

The work is held in 
the left hand while the 
right hand follows the 
pattern with the 
needle. The Hemin- 
way "Practical" ob- 
long hoop is the most 
satisfactory one to use 
for solid work. The 
first step consists only 
in outlining the pat- 
tern with a plain run- 
ning stitch, such as is 
used in ordinary sew- 
ing. The material is 
cut inside each oval or 
circle, from one end to 
the other, so that the 
last step in the process 
may more easily be 
accomplished . This 
is done by folding back 
on the wrong side the 




iS 



M 



HEMINWAY & SONS 



clipped edges of the material with the needle, while the opening thus formed is 
overhanded with a very snort, close, slanting stitch. Care must be taken to hold 
the fabric stretched according to the thread, or else the openings will be misshapen 
and the work drawn in effect, and satisfactory laundering will be impossible. 

The plain outline stitch is the one usually used for all worked stems. The 
best results in eyelet-work, when done in silk, will be obtained by using either 
Spanish or Turkish floss, both of which, as made by M. Heminway & Sons, 
are beautifully adapted to this work. A heavier effect, especially in outline, may 
be secured by the substitution of Twisted Embroidery Silk, but this is only 
desirable in large patterns, where a heavy silk will add to the general effect. 
The wide variety of shades in which these silks can be obtained affords the 
embroiderer unlimited range of choice in the selection of colors where vivid 
combinations are preferred to white or subdued tones. 

Button-Hole Stitch, 




BUTTON-HOLE STITCH MAG- 
NIFIED TO CLEARLY ILLUS- 
TRATE TO BEGINNERS THE 
METHOD OF MAKING 



This stitch is used in work- 
ing scallops in French em- 
broidery on silk, flannel, 
linen, and cotton fabrics, 
and also to finish outlines 
on Roman and applique em- 
broidery. 

In using the button-hole 
stitch to work scalloped edges 
the scallop should first be 
filled in, to give it a raised 
effect, beside adding to the 
durability of the edge. 

In filling, use coarse white 
embroidery or darning cot- 
ton. The chain is a good 
stitch to fill in the edge of 
scallop, making as many 





LONG AND SHORT BUTTON-HOLE STITCH 



BUTTON-HOLE STITCH. (FILLED) 



ART NEEDLEWORK STITCHES 



iQ 



rows as width of scallop. This will give the scallop a heavy, rich, and raised 
effect. The needle should pass through the material just at the edge of the 

top thread, coming out under the lower 
line, while the thread is held by the left 
thumb, a little to the right of where the 
needle is to come through, so that as 
the needle is drawn up a loop is formed 
which fastens itself. In making button- 
hole outline for Roman embroidery, the 
stitch is usually worked over a Ger- 
man cord: and in articles where the 




RAISED BUTTON-HOLE STITCH 



Basket Stitch, 




BASKET STITCH 



frequently called Persian and "Janina," 
is useful for filling long, narrow petals or 
spaces in conventional designs. It is simply a 
crossed stitch. Beginning a little to the left 
of tip of petal, bring the needle up through, 
pass it downward to the right across at the 
back, up at a point opposite where it went 
down, then across the first thread, up to the 
point nearly opposite where it first came out. 
The stitches may be wide apart or close, as 
required, and the petal is finished by out- 
lining. 



Bird's-Eye Stitch, 




PETALS IN BIRD'S-EYE 
STITCH 



Which may be used for small, narrow petals, as those 
of the star-flower, marguerite, etc., is a sort of chain 
stitch, starting from the centre. Put the needle up 
through, then down again and out in a long stitch to 
the tip of the petal, bring it up inside the loop of silk, 
and putting it down again just outside, forming a 
short stitch to hold the petal in place. 



20 



M. HEMINWAY & SONS 





MOUNT MELLICK BRIAR STITCH 



CLOVER-LEAF CHAIN STITCH 





j ^^^ s!^. -^ 



SNAIL STITCH 



WEAVING STITCH 

Leaves, Long and Short 



Instructions for Padding 

All Strawberry, Cherry, Holly, Grape and turned over petals should first 
be padded to give them the raised effect. 

Method — First fill in with soft white darning cotton, putting all the filling on 
top, using the short stitch underneath. This is to avoid having the work too 
thick, which would cause trouble in washing. 

The stitches should run in an opposite direction to what you are going to 
embroider; otherwise, the silk would sink into the cotton and it would take 
twice as much time and silk to cover. 

The stitch used for padding is a long back stitch taken just inside of the 
stamping. Be sure to use the short stitch underneath. 



R T NEEDLEWORKj^nCJ^l 



21 




French Knot Stitch. 

Is used for the centres of such flowers as the daisy, 
for the anthers of others, for golden-rod and such as 
are formed of masses of tiny blossoms. The neeok ,s 
brought up at the exact spot where the kno is to be. 
Hold the silk in left hand, twist it around the needle 
once tw.ee, three times, or more, according to size of 
toot'requi ed, then pass the needle through the fabric 
dose to the point where it came up, drawmg it down 
wh, he right hand, and with the thumb of the left 
keeping the twists in place until the knot is secure. 



FRENCH KNOT STITCH 








SOLID KENSINGTON STITCH 



'long and 



SHORT" KENSINGTON STITCH 



Kensington Stitch* 
First put the linen in a tight-fitting hoop or frame having the work "tight 
w,S" Start the outer edge of the flower with two strands of Japan 

the left. 



22 



M. HEMINWAY & SONS 




Raised Rope Outline. 

Very handsome in heavy silk ; method of making shown, and 
the stitch can be varied by making the stitches which cross 
rather smaller and farther apart. There is but the one thread 
as shown ; it is brought out at the top of the line along which 
the work is to be done, and the first stitch is made in the same 
way as the last shown. 



RAISED ROPE OUTLINE 

Raised Satin Stitch* 

Is worked in the same way as satin stitch, the surface 
of the fabric being first "padded" as shown. The "jewels" 
in embroidery of recent years are made in this way. 




RAISED SATIN STITCH 



Split Stitch. 

Split stitch is worked like the ordinary outline or stem stitch ; 
except that the needle is always brought up through the silk, which 
is thus split ; it is used for delicate outlines, and the effect is some- 
what that of a chain stitch, not well defined. 



SPLIT OUT- 
LINE STITCH. 



LESSONS IN EMBROIDERY 



23 



Parts of a Flower. 

It is quite essential, when a flower is to be embroidered, that the worker 
should possess a knowledge of its different parts, and their relation to each 
other. 

The illustration will show these distinct parts, with their individual sections 
or divisions. 

The corolla is the blossom or flower portion, and is often in a single section, 
having edges more or less open and convoluted, as in the morning-glory, petunia, 
lily, etc. 

When the corolla is divided, as in case of wild rose, poppy, violet, pansy, 

etc., each of these divisions is a petal. 

The green bud enclosing lower portion 
of corolla is the calyx, which, like the 
corolla, is often in one sheath-like piece, 
with edge more or less open or pointed. 
When the calyx is divided each section so 
formed is a sepal. The sepals unite at a 
point near their union with stem or con- 
tinue separately to the stem, as in the rose 
and other flowers. 

The stamen in centre of flower consists 
of an anther, or fertilizing part, borne on a 
stem called the filament. The pistil is the 
part containing the seed vessels, and this 
varies in number with the nature of the 
flower. 

The natural grain of a petal is toward 
the centre or calyx, and this grain should 
be carefully preserved. The direction of 
turned-over petals, etc., may easily be ascer- 
tained by cutting from a piece of paper, or 
drawing, a petal to be worked, stroking this 
with the slant or grain of natural petal, and by turning over the edge to be copied 
in whatever direction is called for. The stitches will lie clearly as they should be 
worked, and this method will be found very satisfactory and reliable. 

An effort has been made herein to obviate the necessity for reference to other 
sources for information as to the essential points and details of flower painting 
with the needle, and it is thought that in these pages the embroideress, whether 
amateur or expert, will find a clear because to her every why. 




FLOWER PARTS. 



Chrysanthemum Decoration. 

Descriptive of Color Plate No. 6. 

The Chrysanthemum is a flower which lends itself readily to embroidery. In 
tlie color plate we have an example wrought in exquisitely natural coloring in 
the following shades of Japan Floss. 

Flowers.— Pinks— 1657, 540. 541. 330, 331, 333, 334. 3§9- Yellows— 361, 362. 

Foliage. — Greens — 371 to 375. Browns — 229, 230E, 230^, 304. 

With the proper color gradations at hand the curving of the stitchery in 
the sinuous petals demands our first attention. 



24 



M 



HEMINWAY & SONS 



A chain stitch cotton padding is placed at the tips of petals before em- 
broidering-. This in no case extends more than J^-inch, generally a single line 
suffices. Where size permits, commence with two strands of silk, shading in with 
one in the large flower. The tips of outer petals are mainly pale pink. 540, 541 
and 330. Shade in stronger toward the centre, giving care to shape the stitches 
to the sinuous curves of the petals. Occasional stitches of yellow 362 will give 
good effect. Lower petals are begun with deeper shades 541 and 331. Some few 
show 333 on top and these last shade lighter toward the centre. Inner petals are 
all pale, tipped with 361 yellow, into which is shaded 1657, 540, 541 in various petals. 
Fill in back of these petals with 333 to throw them in relief. The opening flower 
and bud are also padded in these darker tones 333, 334 and 389 predominating 
as may be seen. 

The stems are of 373, 374 and 375 greens, with which is dashed a little 304 
and 230E brown. Leaves shade darker from the tips. The highest leaf in plate 
is commenced with two strands of 372, while 372 J A shades into this with 374 to 
right of middle vein and 229 brown on the left. The vein is a single strand of 
374. Same shades appear in the turned portion of next large leaf, the under 
portion of which is worked with 373, 374 green and 230E brown. 

Chrysanthemum Center 

Design No. 2981c. 

Sizes : — 12, 18, 22 and 27 inches. 

Materials. — M. Heminway & 
Sons' Japan Floss for floral 
decoration and Turkish Floss 
for scallop. 

Flozvcrs. — Yellows — Line 360 
to 368 or A645 to 653. Pinks — 
Line 580 to 588 or 330 to 334. 

Foliage. — Greeks — Line 512 
to 516 or Line 370 to 375. 
Browns — 301 or 302. 

Scallop. — White — No. 691. 
Couch seven • strands of pale 
green above buttonholing, fast- 
ening down with darker shade. 
For Pink Chrysanthemum 
use lightest shades for edge of 
top petals ; darker toward stem. 
Touch outer and lighter petals 
with Yellow, A645, using this 
shade lightly and with care, a suggestion only of Yellow tip being desired. In 
some petals in other flowers shadow Green 0682 may be used. This applies, 
too, to Yellow flowers, which are also tipped with White, 688. Start petals, 
when broad enough not to be heavy or clumsy, with two strands of Japan Floss, 
subsequent shadings with one. 

The stitches must be very carfully curved to form of petals, which are dis- 
tinctly marked. All have a common direction — that of base of flower, and their 
intentions should not be frustrated by improperly directed thread. 








M. HEMINWAY & SONS 
CHRYSANTHEMUM.. Color Plate No. 6 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN E M BROIDERY 



25 



The foliage is worked in two lines of Greens, which adds considerably to 
the shading, and relieves the subject of the flat monotonous repetition so obvious 
in the majority of work of this character. 

For leaves, use two strands of the lightest Green on outer edge of most 
prominent leaves, shading with one strand. The leaves lying in shadow are 
begun with second, shading with darker numbers. An occasional tint of Brown, 
301 or 302, on tip of old leaf or along edges or a spot in centre, adds natural- 
ness and a suggestion of the early autumn's touch, so welcome with these flowers. 
About two, or in largest petals, three, shades of color will be found sufficient, 
although this may be largely a matter of individual taste. The calyxes are in 
Light Green on tip and edges, shading deeper toward stems, which are worked 
in light shades also, approximating as nearly as possible the cool Gray-Green of 
the natural stem so familiar to all. While a cold and brilliant flower in itself, 
its careful treatment and arrangement of color and accessories, afford a har- 
monious and graceful decoration which assures its popularity. 

Bfedermaier Embroidery* 

Design No. 794. 

Sizes: 12, 18, 22 and 27 inch. 

M. Heminway & Sons' Turkish Floss. — Grav — 1196, 1200, 1202. Red — 0655, 
655, 657, 658, 659. Green—370, 371, 372, 372V2, 373, 374, 375. Blue— 671, 671^.' 
Tzvisted Embroidery. — White — 691. 




DESIGN NO. 794. 

As its name designates, Biedermaier Embroidery is of German origin, and 
although but a revival of old time methods, is enjoying a vogue not readily at- 
tained by absolutely new comers in the field of needlework. Its designs are the 
outcome of Empire suggestions, simplified and without the cold formality of the 
former, so that they carry with them a very homelike atmosphere, and one that 
is particularly suitable to the present development of house furnishing on simple 
lines. We see the motives of wreathes and garlands, so familiar in the Empire 



M. HEMINWAY & SONS 



style, made quaintly attractive by additional prim little trees and flowers drawn 
on conventional lines. Little silhouettes of our grandmother's times are also 
frequently pictured together with ladies of dainty stateliness in enormous pokes 
and voluminous beruffled skirts. All these are part and parcel of this unusual 
form of decoration. The color is no less a feature than the motives of design 
and we work with bright tints and strong contrasts, but invariably toned with 
black or softened with dull blues and greens, so that the scheme, though bright, 
is never garish. 

The centerpiece shown, No. 794, is a very characteristic design, and illus- 
trates the whimsical bits of ornament which constitute the units and basis of 
Biedermaier. In it we have formal little flower trees growing from sturdy 
tubs, of gray, with baskets of odd roses, and connecting the two is a soft blue- 
gray ribbon suspending Empire wreathes and what is called a "swag" in decora- 
tive parlance; a term applied to a pendant or festooned garlands of leaves and 
flowers. 

All Biedermaier stitching is simple satin stitch and simple thick upright 
outline stitches and French Knots — these are about all which are brought into 
play. Padding is of too occasional nature to form one of the features of the 
needlework. Turkish Floss of M. Heminway & Sons is the proper medium 
for this embroidery. 

Description. — In the design illustrated, flower tints are carried out in shades 
of gray 1196, 1200 and 1202. The tub has an outline of the medium shade, 
and a second of the palest shade leaves a space which is filled in with French 
Knots of the darkest tone. Long rows of straight stitches of this last fill in 
the center portion of the tub. Balls of red 658 and 659 give a touch of bright- 
ness to the otherwise sombre scheme. The same tones appear in the basket 
which utilizes thick upright outlines for its top, base and support. The top re- 
quires shade 1200, the base 1196, the legs 1202. The weaving of the basket is done 
in a sort of diaper couching, the couchmg in 1196 being a small cross over the 
intersecting long stitches of 1202. Between the couching crosses are French 
Knots of 1200. The foliage shades dark to light as it ascends from baskets 
and flower tubs. The rose leaves of trees and baskets show shading from 370 
to 375, the intervening gradations numbering 371, 372, 2,J2 l / 2 and 374. The 
rose tree stem begins with 2>7?> and works into 375 at its base. The same 
tints are required in the wreaths which are darkest near the ribbon and shade 
to the palest green at the tips. Flowers on trees present darkest blossoms 
toward the top, three shades in sequences being used in each flower. Beginning 
at the tops, these run in the following order — 659, 658, 657, the next flower 
shading is composed of 658, 657. 655 and the third set of 657, 655 and 0655. 
The three roses in the basket call for 655, 657, 658 and 659 with the largest 
flower executed in 655, 657 and 658 in the centre of the group. The gray blue 
ribbons require shades 671 and 671^. A scallop in 691 Twist Embroidery 
finishes the embroidery of this effective piece which is made more ornamental 
by an outer edging of Irish lace. Plate doilies may be had to match the center- 
piece. 



IMPORTANT, 



To intelligently follow the embroidery lessons in the book don't fail to secure 
of dealers a sample card showing the silk itself in every shade made in all sizes 
of silk threads. See illustration on page 85. 



LESSONS IN EMBROIDERY 



2.7 







BIEDERMAIER PILLOW. 

Pillow Design No. 800/1 

Stamped on cream Bavarian Linen, embroidered in Turkish Floss aftei 
style suggested in centerpiece article preceding. 



EYELET 
EMBROIDERY 
AND ITS 
FUTURE 
POSSIBILITIES 

Series No. 7 



A book of thirty pages, size 
8x11 inches, containing eighty 
illustrations of useful articles that 
can be made in Eyelet Embroid- 
ery and Hardanger Work with 
silk. 

Published at 25c. Mailed, 
while the edition lasts, for 6 two- 
cent stamps. 



Address the publishers of this book at their Mills, WATERTOWN, CONN. 



28 



M. H E M I N W A Y & SONS 




NO. 2935. 



Orchid and Ferns 
Decoration, 

Descriptive of Color Plate No. 5 

Size of Centerpiece, 25 inch. 

Design No. 2935. 

M. Heminway & Sons' Japan 
Floss for floral decorations. 
Turkish Floss for scallop. 

Japan Floss.— Pink— 540, 541, 
542, 543, i657, 544, 58o. Yellow 
— 409^, 0409. Brown — 229, 
392, 393, 333- Green— 310, 
310^, 370, 371, 372, 372^, 373, 
374, 375, 480, 481, 482, 483, 484, 
485, 486. White— 688. 

Turkish Floss.— White— 691. 
Pink— 1657. Green— 310. 

An orchid and fern decora- 
tion is the subject of centre 
No. 2935, an excellent idea of 
which is given in color plate 5. 
Very little padding is used in 

rendering this design— slightly raise the chalice rim in the orchids and turnovers 
on the leaves — that will suffice. The necessary slant of Kensington stitches is illus- 
trated by the color plate. The deepest coloring appears about the fluted rim of the 
flower cup — in all cases it shades lighter and merges into yellow in the interior. 
The blending of pale pink and green in some flowers gives a charming symphony 
of opalescence. In working the full face flower, shown in the color plate, use 
two strands of pink 543 around the chalice rim. Into this, run single threads of 
541 and 542, also in the lower portions over this are scattered single long stitches 
of 545. Yellow 409M2, then 0409 appear in the hollow opening. The outside of 
the chalice is palest under the rim, 540, 541 and 542 are needed for this. The 
last three also color the remaining three petals, the deepest shade working in 
where they join the stem. A white orchid is worked with 688, 310 and 310^ 
greens, and before mentioned yellows. Shade in the green near the stems. 

Stems and leaves call for the line 480 to 486. The large leaf in the color 
plate is tipped with 480 and into this runs a bit of 229 tan. 481, 482, 483 and 
484 succeed each other in the leaf — 485 and 486 form the dark. stems. 

Shadings of the line 370 appear in the fern with stems of 303. Turkish Floss 
is used in the large scallops with a cord of seven strands of 1657 pink couched 
with 485 green above this. Buttonholing of 1657 forms the fancy shell between 
the scalloped divisions and 310 green is worked in above this. 




o - 

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> • ° 

g W -c 

"~ 'x - 

_: r: ■- 

2 _ __ 



u s 



LESSONS IN EMBROIDERY 



29 



A Novelty in Damask* 

The doylie illustrated is one of 
four wreath designs woven specially 
for M. Heminway & Sons Silk Co. 
and sold to dealers in their silks and 
art materials. 

Three sizes are obtainable : Finger 
Bowl size about six inches in 
diameter, Plate size about 12 inches 
and centerpiece size about 24 in- 
ches. 

The cut gives but a faint idea of 
its beauty. The quality of the damask 
is high grade, pure white linen; the 
leaves and dots are woven to shov* 
clearly and are not to be touched by 
the needle, the only embroidery be- 
ing put on the scalloped edge which 
is closely buttonholed with white 
Turkish Floss. 

The designs obtainable in three 
sizes are: Clover (also known as Shamrock), Thistle, Double Rose and Holly. 
This pretty novelty is meeting with a large sale which proves its popularity, 
particularly among those who have little time for embroidery and are not skill- 
ful in executing intricate shadings in flowers. 

The prices generally made by dealers are: 12 cents each, for Finger Bowl 
size; 30 cents each, for Plate size; $1.25 each for centerpiece size. 




DAMASK DOYLIE, DESIGN NO. 250/I 



Box of Strawberries* 

Descriptive of Color Plate No. 8. 
Shades required. 

M. Heminway & Sons' Japan Floss. — Brown — 227, 228, 230, 230^, 230^, 
230D, 230E. Red— A655, 0655, 656, 657, 658, 659, 660, 661, 662. Yellow— 409^. 
Green— 481, 482, 483, 484, 485. Red Brown— 300, 302, 304. 

The box of strawberries shows a beautiful and skilful blending of the 
various shades employed in embroidering this luscious fruit. Each berry pre- 
sents a different blending and combination of shades and each one is a practical 
lesson and helpful, giving suggestions which may be applied whenever straw- 
berries are to be embroidered, no matter in what manner of grouping or arrange- 
ment. There is a preliminary cotton padding laid in most of the berries of the 
illustration. This padding must be done with care, the thread laid evenly with 
a short back stitch, and the use of a frame or hoop is very necessary. The pad- 
ding should run at right angles to the direction of the silk stitching, so that 
there will be no opportunity for the latter to sink down into the cotton. Where 
the relief is very high, several layers of this padding will be necessary, the great- 
est height being reached in the centre of the berry. A detail of padding is given 
on page 20. 



3 o M. HEMINWAY&SONS 

Description. — One strand of Japan Floss should be used in embroidering the 
berries, the stitches in the illustration running straight down from the top and 
sides of the berry to the base. This method is more simple than slanting the 
stitch by working from the edges toward the base, and also seems to better ex- 
press the texture of the berry. The lighter berries should be shaded from Nos. 
A655, 0655 and 656 with delicate touches of 657. These are the true tints of 
the Nova Scotia berries, while deeper shadings are obtained with Nos. 657, 658, 
659, 660 and 661, and occasional stitches of No. 662. Yellow Japan Floss No. 
409^/2 is the shade for seeding, and it is with small straight stitches or fine 
French knots that we express the real fruit of the strawberry plant. 

The greens of the strawberry leaves and sepals are soft and varied, and are 
well expressed by shades Nos. 481, 482. 483, 484 and 485. The large leaf in the 
illustration is beautifully modelled in these shades, while a skillful use of Red 
Brown No. 302 suggests the bloom upon the leaf. Subtle coloring of this sort 
must be sparingly indulged in by the amateur for the line between hodge podge 
and harmony is very fine, and the delicacy of treatment of apparently opposing 
shades must not be entrusted to the untrained eye. Red Brown No. 300 is blended 
with green No. 481 in working the turn over of the leaf, while for veining 302 
and red No. 661 are employed — the Brown tint 302 is used throughout save on 
the darker side of the one leaf shown full face. 

The berry box affords an excellent study of smooth, woody texture and 
no better line of color could be desired. The stitches follow the natural grain 
of the wood, those of the rim running round, while the sides run from the base 
of the box to the top. The rim is worked in tan No. 228 with little cracks 
and nail heads represented by the darker tone No. 230E. Where the sides are 
pictured as showing along the box top, between the inside and outside rims 
No. 230 T /2 is employed, the stitches following the grain and direction of the 
sides, are of course at right angles to those of the rim. No. 227 is the shade 
for the outside of the box with a little shading of 230H2 near the base where 
the leaf casts a shadow upon it. A suggestion of the grain is given by a few 
deft stitches in No. 230E. 

The bottom of the box is worked with 230^, 230E and 230D — just a little 
of this last appearing in the deep corner shadow, and blending again into 230E 
— 230 and 228 as the base binds into the far side of the box. 

The table shows the blending of 227, 230 and 230^, but little of the last 
color being used to represent the deep strong shadows thrown by leaves and 
berries. The distribution of light and shadow is sometimes a puzzle, and the 
needleworker will ofttimes be sorely troubled if she commences her work with- 
out any definite theory to guide her. In general the light is supposed to fall 
from the upper lefthand corner of a picture or needle painting, and if this is 
born in mind, the placing of the shadows will be greatly simplified — their natural 
position must be underneath and to the right of the various objects pictured. 



IMPORTANT* 



To intelligently follow the embroidery lessons in this book don't fail to secure 
of dealers a sample card showing the silk itself in every shade made in all sizes 
of silk threads. See illustration on page 85. 



u- 1 



a O 

1 o g 

!. o ^ 

w "' in 

g « > 

i: ^ § 

o • w 

3 2 

h 3 

2 CO 





4 



LESSONS IN EMBROIDERY 



.u 



Strawberry Key. 

Materials— M. Heminway & Sons' Japan Floss. 

BERRIES. 




Red ... 


2. 


Shade 


No. 1 




4- 


" 


" 2 




6. 


" 


" 3 




8/ 2 . 


" 


" 4 




10. 


" 


" 5 




on. 


" 


" 6 




015. 


" 


" 7 


Seed . . 


■ 043-2. 


" 


" 8 




BLOSSOMS. 




White . 


. . . 69I. 


Shade 


No. 9 


Green 


. .. 310. 


" 


" 10 


Pink . 


...1655. 


" 


" 11 


Yellow.. 


... 648. 


i< 


" 13 




649. 


" 


" 13 


STAMENS AND OLD BLOSSOMS. 


Yellow 


... 409- 


Shade 


No. i-| 




LEAVES. 




Greens 







0432— A 
432-B 
433— C 
434— F> 


Veins . 






435-E 


Brown 






227— F 
229 — G 



Strawberry Center* 

Design No. 2981F. 
Sizes : 12, 18, 22 and 27 inches. 

Use Japan Floss of M. 
Heminway & Sons for deco- 
ration and Turkish Floss for 
scallop on this centre. 

Description. — Full instruc- 
tions regarding strawberries are 
given in article on color plate 
see pages 29 and 30. Embroid- 
er blossoms with single thread 
of 688, having very slightly 
raised the outer edge with cot- 
ton filling of chain stitch. 
Work in 0682 toward the 
centre to give a transparent 
greenish cast, stamens should 
be done with straight stitches 
of yellow 646, with anthers 
of French knots 648. 

Foliage. — Good coloring for 




2981F. 



32 



M 



HEMINWAY & SONS 



large leaves is shown in color plate; in tender leaves and runners 480, 482 and 
483 should predominate. The key also shows coloring and lay of stitches. 
Scallop — Turkish Floss. — Green 682. — Buttonholing with couching of 7 
strands 1655 pink fastened with 1 strand of 374 green forms an effecting 
scallop. 691 white may replace 682. 

Key to Cornflower, Wild Carrot, Wheat* 




CORNFLOWER. 

Bluet 261. Shade No. 1 



262. 

263. 

264. 

Black 690. 

Yellow 0409. 



WILD CARROT. 



White 688. 

Pink 1657. 

Green 310. 

3ioj4 



Shade No. 



9 

10 
11 
12 



LEAVES AND STEMS. 
CORNFLOWER. 

Greens 372. Shade A 

372^. " "B 

373- " C 

374- " D 
Brown 230^. E 

WHEAT. 

Yellow 361. Shade No. 13 

0409. " 6 

409^- 7 

409. " " 8 

Leaves 0432 to 434 — 229, 230, 230D. 




M. HEMINWAY § SONS 

WILD CARROT, CORNFLOWER and WHEAT 

Color Plate No. 1 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



33 




Cornflower Centerpiece* 

Design No. 2980c. 
Sizes : 12, 18, 22, 27 inches. 



See Color Plate No. 1. 
on page 32. 



Key 



2980c. 



Japan Floss. — Blossoms. — 
Bluets — 260, 261, 262, 263 and 
264. Line 330 to 335 and 581 
to 587. Leaves. — Line 371 to 
374- 

Turkish Floss. — White — 691. 

The Cornflower or Kaiser 
Bloom is sometimes called the 
National flower of Germany, 
for when the mother of Wil- 
liam I was in hiding from the 
army of Napoleon, she wove 
garlands of the persistent little 
blossom, decking her little ones 
with the gay color in her ef- 
forts to comfort them as they cried for food, and surely their "royal blue," 
made them a fitting crown for prince or emperor, and carried a prophetic 
symbolism. 

Description. — Commence the. flowers with 2 strands and shade in with one. 
Refer to key for distribution of shading. The green calyx cup is underlaid with 
two layers of padding stitches, the first laid crosswise, the second lengthwise. 
Pad with long stitches all on the right side. Cover with satin stitch run- 
ning crosswise, and over this spread a lattice of two strands of black 690 
caught down with lengthwise stitches at each intersecting point. Use yellow 
409 or green 372 for this. In embroidering a number of flowers as on the 
accompanying centerpiece, No. 2980C, give variety by keeping some blossoms 
in deep and some in lighter shades. For a dark blossom begin with two 
strands of 262, work at top of petal, into this work one strand of 263, 
followed by 264 or 265. For lighter flowers, shade in the same way, only 
beginning with light tone, 260 or 261. In a profile flower let the petals 
nearest you be lightest. Flowers in various shades of purplish pinks, or pink 
and white are seen in nature. These can be worked in among the "bluets," or 
the entire piece may carry out these unusual tones. The 330 line may be used, 
as well as selections from 580 line with white 688. For leaves use the 371 line 
working in Kensington stitch like grass, the length of leaf. Keep the color 
mainly light, the soft natural effect of bloom is lost when dark tones predomi- 
nate. The scallop is buttonholed in white Turkish 691. 



34 



M. HEMINWAY & SONS 




Wild Carrot Centerpiece. 

Design No. 2980B. 

Color Plate No. 1 

Sizes : 12, 18, 22, 27 inches. 

Shades Required 

Japan Floss. — White — 688. 
Greens— 0432, 433, 434, 428 to 
431. Pinks— 1655, 1657. Yel- 
low — 645. Browns — 229, 230. 

Turkish Floss. — White — 691. 

The fascinating flower clus- 
ters of the wild carrot shown 
at Color Plate No. 1 are de- 
tails of an extremely pretty 
and unusual centerpiece pat- 
tern. Wild carrot, called by 
some. Queens Lace, is so rare- 
ly seen in embroidery that it 
must attract special attention, 2980B. 

and the design referred to is 

one of unique daintiness. The coloring is necessarily light in tone, the flowers 
being carried out in white and palest tones of creamy yellow, green and shell- 
like pink. Sage greens, with a bit of brown, are used in the stem and leaves. 

In embroidering the flower tints, first lay the straight and slightly curved 
stitches which form the centre cluster, and for this use the Japan Floss of M. 
Heminway & Sons in shade Nos. 0432, 432, 433 and 434. Springing from this 
cluster are the slender stems of the developed blossom heads in Nos. 428, 429, 
429^ and 430 of green. The same shades with the additional green of No. 431 
and brown Nos. 229 and 230 are used in working the heavy stems and also the 
leaves. The shades of brown are sparingly employed. Each little starlike group 
which forms the blossom, shows radiating single stitches of mingled white No. 
688 and yellow No. 645, or white and green No. 0432. Dotted between these 
stitches are French Knots in pink shades Nos. 1655 and 1657. These little knots 
are somewhat irregularly placed between the straight stitches, the number 
somewhat depending upon the size and arrangement of the first laid stitches — 
from eight to ten knots will be sufficient in the various clusters. The darker 
pink knots of course appear on the shadow sides of flower groups, and the 
white on the lightest portions. The star stitches of these clusters extend over 
the small flower stems giving the full feathery appearance, which is so pretty in 
the natural flower, while the French Knots give variety to the surface, well 
suggesting the tiny blossom heads seen in nature. Single - strands are used 
throughout in working both flowers and foliage. Turkish Floss, white, No. 
691 is suitable for the scallop and a line of couching composed of about seven 
strands of white caught with pale green is a pretty finish above the buttonholing. 



LESSONS IN EMBROIDERY 



35 




NO. 2000WT 



Wheat Centerpiece. 

See Color Plate No. i. 

Design No. 2900WT. Sizes — 

12, 18, 22 and 27 inches. 

M. Heminway & Sons' Japan 
Floss. — Yellows — 361, 0409, 
409, 409^, 0645, A645. Greens 
-0432, 433, 433 V 2 , 434. 

Turkish Floss.— White— 688 
or 691. 

Description.— Pad the ker- 
nels with cotton and cover in 
Kensington stitch. In either 
the golden tones of ripe or the 
sage greens of unripe grain this 
centre is extremely pleasing. 
Work from tip to base of each 
kernel and in entire head, after- 
ward making the whisps which 
spread out at sides. For yel- 
low grain begin with 361, two 
strands at top kernel, gradu- 
ally work succeeding rows 



darker, with shades 0409, 409^, etc. Where shading is introduced in single 
kernels use one thread. For green treatment, begin with correspondingly light- 
est green or white and work darker. Do not make each head alike and let 
one side of some be in shadow and accordingly darker. Use Turkish Floss, for 
buttonholing scallop, couching seven strands of yellow Turkish Floss 361 with 
single strand of green 312 
above the white. 

Grape Center. 

Design No. 2930. 
Size, 27 inch. 

Use M. Heminway and 
Sons' Japan and Turkish Floss 
in executing this design. 

JAPAN FLOSS. 

Grapes. — Reds — 490, 491, 492, 
492 x /4, 493- Greens— 310, 310^2, 
311, 0682. 

Foliage and Stems. — Greens. 
—395. 396, 397, 398, 398^. 
Browns- -228, 230, 230^, 230E, 
230D. 

TURKISH FLOSS 

Scallop — White — 691. 

JAPAN FLOSS 

Green — 682. 
Description. — Underlay the NO. 2930 




36 



M. HEMINWAY & SONS 



grapes with cotton filling before embroidering in Kensington stitch. This pad- 
ding should be at right angles to embroidery, and the Kensington stitch laid in 
straight stitches lengthwise of each grape. Color plate 15 gives a good disposi- 
tion of colors for catawba shadings, while variety may be obtained by alternating 
clusters of green grapes with these. When green is used, the lighter shades 
given above should predominate, and whether the grapes be green or red, there 
must be a proper feeling of roundness in the entire cluster. Think of the light 
as coming from one definite direction. This simplifies and gives truth to the 
rendering and the result accordingly is far more pleasing to the eye. 

Foliage.— Work the leaves either solid or in long and short, commencing 
with two strands, and shading with one. Blend in occasional touches of brown 
in the leaves. Give attention to the direction of stitches in the leaves, the 
proper slant for which is shown on the color plate. Use browns freely in the 
stems, which should be worked solid. 

Scalloping is done in White Turkish Floss No. 691, and the tiny leaf spray 
in the small scallop is of 682 Green Japan Floss. 

Wild Rose Key. 

Materials. — M. Heminway & Sons' Japan Floss. 




BLOSSOMS. 



Pink 580. 
581. 

0582. 
582. 
583. 
584. 
585. 
586. 
586^. 
587. 



Shade No. 



STAMENS. 



Yellow 647. Shade No. 12 
648. " " 13 

LEAVES AND STEMS. 



Green 



Brown 



. 0428 — A. 
423 — B. 

429 — C. 
429^— D. 

430 — E. 

431 -F. 
431V2—G. 

..230 — H. 
230H— K. 
230E— L. 



THORNS. 

Old Red .529 



— M. 




M. HEMINWAY & SONS 
WILD ROSE Color Plate No. 16 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



37 




CENTER PIECE 298 1 A. 

Sizes : 12, 18, 22 and 27 inches. 



Wild Rose. 

Design No. 2981A. 

Color Plate No. 16 

The great popularity of this 
dainty little flower almost 
causes a miscarriage of the jus- 
tice, due to its sweet charm, so 
often do we see it poorly 
interpreted and executed — 
literally, without reference to 
its prettily modeled and un- 
dulating petals. If legend is to 
be accredited, our admiration 
is of long and hereditary 
standing, for 'tis said that it 
was Eve's kiss which caused 
the first wild rose to blush 
from white to pink. Centre 
No. 2981A shows a graceful 
arrangement of this pretty 
floral favorite, true to its 
poetic significance, which typi- 
fies simplicity. 

The shading should vary in the different flowers, and no fixed lines should 
be followed, duplicating every shade and curve in roses or in petals. Location 
has much to do in the determination of lights and shadows, which should be 
carefully studied before the work is begun. 

For the edge of upper petals of some flowers, use light pink or yellow, 
according to flowers selected. The same rules applying equally well to both 
colorings, and the two having a very refined and artistic effect, lying next to 
each other. For the pinks, use on outer edge 580 Japan Floss, two single strands 
drawn at one time from skein, the twist running down from eye of needle, to 
avoid roughing and wrong shading as well ; tip three petals lightly with light 
green 395, single strands, shading down with 581, 0582 and 583. On outer edge 
of lower petals, reverse this shading by starting with darker pink 584, gradu- 
ally shading lighter toward centre. A good effect is had by shading from side 
instead of upper edge of petals, some dark to light, and reversed. The finished 
petal should have an even, glossy appearance, and care must be taken not to 
draw or pucker the stitches, or overcrowd them- The turn over petals are some 
of lightest, others of darkest shades, the latter where lying most in shadow. 
Turn overs should be padded before and outlined after embroidering. Buds are 
pink 585 and 586. Some of the open, and also fallen petals, may be varied by 
using 581 for top and shading darker with 0582, 582 and 583, directly in centre 
of flower. For the round dot, around which the seeds are placed, use 483. This 
is worked solid in satin stitch, with underlying stitches in reverse direction for 
round effect. These centres are very important, as they give expression to the 
flower, and may render it "stiff" or graceful, according to the treatment re- 
ceived. The stamens and pollen are worked with 410 and 646, and should be 
placed irregularly around the centre dot of green. The stem stitch and French 
Knots make this familiar centre, the outer row of seeds, or knots being darker, 



38 



M. H E M I N W A Y & SONS 



and are first worked. A good effect is had by using a single strand each of 
yellow and brown together, or light green with either, for the knots, which 
should be firmly attached to surface. 

Where the under side of rose shows, the shading deepens toward calyx, 
the upper portions of which are light, growing darker toward stem. 

The leaves are commenced, like the flower petals, with two strands, using 
greens, 482 on tip, shaded with 481, lighter toward midrib, shading darker 482 
and 483 toward stem, using one strand for all except outer edges of leaves. 
Vary the leaves by using lightest green on tip and old wood shades or burnt 
rose 235, 236 for old leaves and thorns. For other leaves, use 0428 to 431 and 
235. also 236, for the russet tinge of leaves, which may begin on edges in some 
cases. 

The stems shade from light to dark, according to location, being darkest 
where most in shadow, and are worked in irregular stem-stitch, with touches 
of 235 and 236. These shades are also used for the thorns, which are worked 
by taking stitch from inside of stem to tip of thorn, followed by others in same 
direction, and continuing for a short distance down the stem, and shading 
farther down with green. 

The shell-edged scallop is buttonholed in 691 White Turkish Floss, with 
couching of color above, either pink 581 or green 0428. The larger plain edged 
divisions with scroll ends may be either white with colored couching, or pale 
green 0428. 

Trumpet Vine Center- 
piece* 

Design No. 2741. 
Color Plate No. 9. 
Size, 22 inches. 
For this design, use Japan 
and Turkish Floss in the fol- 
lowing colors : 

TURKISH FLOSS 

Scallop. — White — 691. 

JAPAN FLOSS 

Pinks— 0655, 655, 656, 657, 
657 1 /2, 658, 659, 660, 661, 662. 
Greens— 512, 513, 513^, 514, 
515, 516. Yellow— 363. Browns 
—229, 230^4. 

The trumpet vine is a 
particularly effective center- 
piece for a dining room with 
dark wood work such as 
Flemished or Weathered Oak. 
Description. — B e f o r e em- 
broidering, pad the outline of buds and the flared chalice of the flowers. For 
dark blossoms in profile use two strands of reds — 662, 661 or 660 on the petal 
edge— into these blend 659, 658, 657^, 657, 656, 655, and finish with 0655 next 
the green of the calyx. The order may be reversed in light blossoms which may 
shade from 0655 at the chalice edge through the above mentioned shades, the 
flower tube ending with 660 or touches of 661. 




no. 2741 



. 






• 




c > 






^ 






LESSONS IN EMBROIDERY 



39 



Where a perspective of a flower is represented, showing thereby the open- 
ing into the trumpet, dark flowers are commenced with the same shades, work- 
ing through 658 or 657^ into yellows 365 and 363. On this yellow are small 
French Knots of dark red. The stitchery must of course point in toward the 
center. The flower throat may show 657 I / 4 directly beneath the flare of the 
trumpet and from this run to deeper shades at its base. The same general 
directions, carried out with the paler shades, apply to light flowers which may 
also have touches of 363 yellow on their frilled edges. Buds may be likewise 
toned from light to dark or vice versa — beginning at the top and where the 
shading runs into palest pink, a few stitches of green 512 will be very pleasing. 
Use greens 512, 513, S l 3A, 514, 515, 516 and browns 229, 230^ for leaves and 
stems combining several tints in one leaf. Direct the stitches from the tip and 
margin toward the midrib of each leaf and work this latter in a darker shade 
than elsewhere used in the leaf. A good feeling of light and shade is obtained 
if one side of a leaf is carried out in generally lighter tones than those used on 
the opposite side of the vein. Sparing touches of the browns mentioned will 
give variety. Ordinarily, thick stems should be of stronger color than the leaves 
they support. The scallop calls for white 691 Turkish Floss, and couching 
inside the scallop may be done with white or colors, according to individual 
fancy. 



Daisies, White and Yellow With Clover. 

Explanatory of Color Plate No. 3. 
Shades required in M. Heminway & Sons' Japan Floss. 



WHITE DAISIES. 



BLOSSOM. 

White— 691. 
Green — 682. 
Pinks— 1655, 1657. 
Yellow — 648, 650. 



LEAVES AND STEMS. 
372. 
372^. 

373- 

374. 



YELLOW DAISY. 



BLOSSOM, 

Yellows — 645, 646 
647, 648 
650, 652 
0410. 

Brown — 230 G. 



LEAVES AND STEMS. 

As above, or 512 line. 



CLOVER. 



BLOSSOM. 

Pinks— 330, 33i, 333, 334, 335- 
Green— 311. 



LEAVES. 

372 to 374 or 
311 to 313. 



40 



M. HEM IN WAY & SONS 



WHITE DAISIES. 

With two strands of 691 work tops of petals and work in single strand of 
pale green 682 at base. Occasionally use pinks 1655, 1657, either on outer edge 
or shaded into white. Centres of French knots in yellows 648 and 650 or slightly 
underlay a portion of centre nearest you, indicating thereby its height, and 
cover with satin stitch, filling in remainder with knots. Use two strands for 
stems and leaves and keep the latter serrated by working slightly beyond the 
outline over all serrations. 

YELLOW DAISY. 

For outer edges of lightest petals use two strands of 645 and work in single 
strands of 646 or 647 at centre. Darkest petals are worked in same manner 
with 650 and 652 and occasional single threads of 0410. Intermediate petals 
are worked with the other shades given in color list. Have a well defined feeling 
of light and shade with petals gradually changing from light to deep tones ; do 
not scatter light petals hit or miss in shadow porti^ - of blossom. Centres when 
seen full face are worked as described above. Profile shows centre to be 
quite thick and conical. Pad this, and cover with satin stitch, and crown with 
French knots. Leaves are worked as in marguerites. 

CLOVERS. 

Underlay entire blossom with filling cotton, with greatest height at base 
and through centre. Filling stitches are always laid at right angles to the em- 
broidery. With long and short stitch and two strands of green 311 or white 
690, cover this padding. Now thread 12 threads of pink, 330, in large crewel 
needle, and with stitch approximating Y% inch and nearly the same distance 
apart work across the blossom top with half the stitch on silk and half ex- 
tending over on linen. Follow this with 331, 333, 334, 345 in succeeding rows 
across silk foundation, always taking end stitches over on linen. Flowers may 
also be shaded by having the high light 330 across top, and extending entirely 
down one side, the other shades worked in to bring the shadow portion on 
opposite side. The flower head should rest on top of its leaves, and accordingly 
the leaves are worked first. A more or less regularly defined crescent shaped 
high light is the characteristic marking of clover leaf. This always appears in 
the leaf centre near the top, with crescent ends pointing downward. White 
clovers may be worked as above, using 691 with pink; of 330 line or 391, and 
touches of 393 when depicting the faded brown seen in nature. 

The clover, we are told, is the symbol of industry and it would seem the 
bees must have bestowed upon her this honorary degree in recognition of her 
sweet ministerings to their busy days. 



IMPORTANT. 



To intelligently follow the embroidery lessons in this book don't fail to secure 
of dealers a sample card showing the silk itself in every shade made in all sizes 
of silk threads. See illustration on page 85. 




M. HEMINWAY & SONS 

WHITE and YELLOW DASIES and CLOVER 

Color Plate No. 3 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



4i 



Daisy Center. 

Design No. 2900D. 
Sizes : 12, 18, 22 inches. 

Use M. Heminway & Sons' 
Japan Floss for floral decora- 
tion, and Turkish Floss for 
scallops. 

Flowers and Foliage. — For 
shade numbers refer to refer- 
ence table of page 39, and to 
article on page 40, for proper 
directions for working. 

Scallop. — 691 white Turkish, 
couching of green 370 if desired. 
A pretty, naturalistic group- 
ing of daisies is shown in 
centre No. 2900D, and no bet- 
ter arrangement can be found 
for this artless little flower. 
The daisy, or else the "Eye of 
Day" Chaucer calls it, and his 
many laudations of the flow- 
eret are but reiterations of the poetry of all ages. It has ever been, save with 
the farmer, a flower universally beloved, and many are its quaint titles in many 
languages. The French name "Marguerite" has a Greek origin meaning pearl, 
in accordance with its symbol of innocence. Prettier, however, is the Danish, 
meaning "a thousand joys," or the Welch, signifying "trembling star." The 
Scotch have the humblest, but who shall say the least loving, they call the 
flower "Bairnwort" because it is so dear to children, who recognize in it, ac- 
cording to one authority, the one flower they may ever pick unchided. 




2900D. 



M. Heminway & Son's Francais Darning Silk. 

A soft finish fast dye silk, prepared expressly 
for mending silk, wool, or cotton hosiery and 
underwear. 

Articles darned with Francais Silk are very dur- 
able and are not a discomfort to the wearer, because 
of the soft and pliable nature of silk material. 

Sold at hosiery and fancy goods departments in 
Dry Goods Stores. Price, 60 cents per dozen. 

Made in black, white, light blue, cardinal, garnet, 
navy, tan, ecru, brown, lavender, pink, gold and gray, heliotrope, bronze, Bal- 
briggan, emerald, nile myrtle, Alice blue. 




4-' 



M. HEMINWAY 



SONS 



Yellow Daisy or Black - 
Eyed Susan. 

Centerpiece. Sizes: 12, 18, 22 
and 27 inches. 

Design No. 2981B. 

Color Plate No. 3. 

M. Heminway & Sons' Japan 
Floss for decoration and 
Turkish Floss for scallop. 

Jap an.— Yellow — 645, 646, 
647, 648, 650, 652, 0410. Brown 
— 230, 230^2, 230G. Green — 
Line 370 or Line 512 shading 
dark to 515. 

Turkish, — White— 691. 

Description. — No filling is re- 
quired for the petals of this 
flower which are worked solid 
with 2 strands on outer edges 
and shaded in with one. For 
light flower use 645 on tips of lightest petals, i. e., those nearest you. Shade 
with 646, 647, 648 having the color deepest around the brown centre. 645 as 
the highest light must be very sparingly used. Generally speaking 647 will 
serve to tip the petals, and darkest flowers show 652 and 0410 around the 
centre. Where the under portions of petals show as in half open buds, these 
are lighter than the upper surface. Keep the flowers of large cluster in 
centerpiece darker at base of group, and shade lighter. Remember that strong 
contrasts immediately attract the eye, so these must not occur in unimportant 
flowers or portions of flowers. Use Brown 230 G for centres and refer to 
description of white and yellow daisies under color plate for the disposition of 
stitchery. Leaves are worked in usual manner with either the 512 or 370 line 
working darker from tip to base. Brown 230 and 230^ may be introduced for 
dead leaves. The buttonhole scallop is of Turkish Floss, white 691 and a 
couching of either yellow or green may be placed above this. 




2981B. 



IMPORTANT, 

To intelligently follow the embroidery lessons in this book don't fail to secure 
of dealers a sample card showing the silk itself in every shade made in all sizes 
of silk threads. See illustration on page 85. 



xM. HEMINWAY & SONS 

AMERICAN BEAUTY ROSE 
Color Plate No. 14 



r> i i r 



]_1_ i :j l 



*;i # 








LESSONS IN EMBROIDERY 



43 



Clover Centerpiece* 

Design No. 2980D. 

Color Plate No. 3. 

Sizes : 12, 18, 22 and 27 inches. 

Use M. Heminway & Sons' 
Japan Floss for decoration, 
and Turkish for scallop. 

Japan. — Blossoms. — Green — 
310, 310^, 311. White— 688. 
Pink— 330, 33i, 332, 333, 334, 
335. Brown— 391, 393- Leaves 
—372 to 374. 

Turkish.— White— 691. Green 
— 3io x /l 

Description. — After carefully 
reading the method for work- 
ing clovers given under color 
plate article on page 40, no 
further instruction should be 
necessary. Use pinks from 330 
through to 333 for lightest 
flowers. 334 and 335 must appear in darker ones. Additional shades will not 
always be necessary in producing darker appearing flowers, and a fairly deep 
flower may be the result of colors given for the lightest one, if the deep shade 
in the latter is the one most freely used. For white clovers use the shades 
enumerated above. Give variety in the leaves, always carrying out the crescent 
like marking in a lighter tone than the rest of the leaf. Do not use padding 
save to indicate turnovers, then cover these with single silk strand of lighter 
tone than the rest of leaf. Outline the edge where turnovers rest upon the 
underlying portion, do not outline edge where they roll over from the 
foundation. 

The large connecting scallop buttonhole in white 688 Turkish, and small 
sections outlying these, buttonhole in green 310^2 Turkish. 




2980D. 



Rose Decoration* 

See Color Plate No. 4. 

We are ever at a loss to offer due tribute to perfection, and, whether we 
would express ourselves in words or pictures, must ever feel inadequate. Ac- 
cordingly, the needlewoman will find herself confronted by some difficulties 
when first she undertakes the embroidering of roses, but happily the florist's 
art gives us roses all the year and a little careful study of a natural flower will 
solve many of her problems. In no other flower is there such constantly 
changing direction of stitches. Petals will curve inward and wrap them- 
selves around the heart of the rose, or roll outward, all in the same flower. 
A feeling of roundness must always be preserved throughout the flower, and 
no petal should seem flat, or all sense of contour will be lost. Modelling, or 



44 



M 



HEMINWAY & SONS 



producing the ap- 
pearance of a 
changing sur- 
face in embroid- 
ery is the result 
of carefully di- 
rected stitches, so 
at no time must 
one depend upon 
color to correct 
faults of needle 
craft. The truth 
of this can be 
proved by good 
examples of Chi- 
nese or Japanese 
embroidery, many 
of which although 
rendered entirely 
in one shade, 
give a fine feel- 
ing of form due 
to their intelli- 
gent needle guid- 
ing. As no two 
flowers ever grow 
exactly alike, 
neither should 
any two be work- 
ed in identically 
the same manner, 
that is to say no 
two upon the 

same piece of needlework. Avoid monotony in color and stitch directing; 
repetition invariably produces flatness. Let there be a slight contrast between 
the several roses in the same group. Do not try to apply coloring which is not in 
accordance with the variety of roses pictured. This applies most especially to 
American beauty roses, the formation of which is much heavier than that of 
other roses. Never use the American beauty shades in roses which are of 
other types, or you will be working to produce an erroneous effect. Remember 
that the sunlight seems to act in a contrary manner upoo green leaves and 
flower petals. Greens increase in intensity, other colors fade with the sun, so 
that a rose past its prime is paler than an opening bud while young leaves are 
many shades lighter than those fully developed. All colors merge into some 
tone of brown as they wear old, and the woody structure of large stems often 
requires shadings of brown or red. The youngest shoots and leaves also show 
pretty touches of brownish reds and it is well to observe these variations, 
selecting silks, however, which will not be too strongly opposed to other 
colorings in the design. It must be remembered that we should not always 
reproduce things just as seen in nature, for even that brave dame is not beyond 
the evil influences of environment and "there is an art which does mend nature." 




NO. 2979. SIZES : 12, l8, 22 AND 27 INCHES. 



\ 



'*; 








M. HEMINWAY & SONS 
TEA ROSE Color Plate No. 4 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



45 



Tea Rose Center piece* 

Design No. 2940R. 
See Color Plate 4. Compare Color Plate 14. 



7a/>aw F/o.w. — Green — Line 480. Brown— 229, 230^, 230D. Yellow— A645, 
411, 647, 650. Red— 529. Lilac— 590. Tea Rose— 280, 281, 330, 331, 332, 583, 
341, 342, 340, 343, 333, 480. 

Turkish Floss. — White — 691. 

A section of a Tea Rose Centerpiece is shown at color plate No. 4, and 
the entire design pictured on this page shows a beautiful piece of decoration 

containing only roses of facile 
interpretation. 

Description. — Lightly under- 
lay the outer edges of flower 
petals and pad the turnover 
portions to a slightly greater 
height. Use two strands for 
margins and turnovers, shading 
in with single strand. For 
top petal touching leaf cluster 
use 280, 281 with single scattered 
threads of 331 and for turn- 
over use 330. In next to top 
petal use 341, 342 and a touch 
of 330 with 480 at base. Use 
330 also in this turnover. The 
same order of shading is used 
in other petals, the turnover 
of forward upturned petal is 
580. The deeper tones of 331 
and 332 are used in lower 
petals. All petals shade from 
pink at margin to a touch of 
green at their base. In the 
bud use two strands of 331 
and 330 for outside of deeper 
petal and 330, 580 and A645 on 
the lighter portion. Make turnover of 580. Excepting 331 and 332 all above 
mentioned shades are used in lingering petal of the fallen rose. Yellows 411 
and 650 are used in stamens and anthers, the latter composed of French knots. 
Stems worked in line 480 with occasional red 529. Direct stitches of leaves 
from tip and margins toward the mid rib, use line 480 and shade in 229 and 
230M, 230D, also 590 for old leaf colorings. Vein with red or brown in these 
and use red in thorns. Couch 7 strands of 691 above the scallop with a single 
strand of yellow 647. 




2940R. 



N. B.— This rose is quite similar in shape and coloring to the beautiful 
Irish Rose of Killarney. 



M 



HEMINWAY & SONS 



Conventional Wild 
Rose Center 

For Fish Net Inser- 
tion. 

Sizes : 12, 18 and 22 
inches. 

The same style can 
be obtained in con- 
ventional poppy, No. 
2986/2, three sizes on 
white linen. 

First baste the fish 
net on the under side 
and work the button- 
hole stitch with silk 
through the linen 
and net after which 
cut out the linen as 
shown in illustration. 

Turkish Floss is 
used exclusively-^- 
style of coloring can 
vary — natural flower 
tints not strictly nec- 
essary. 




NO. 2986/I. QUARTER SECTION. 



Suggestions for combinations are 

Flowers — Pink 

" —Nile 
" —Maize 



Leaves — Poppy Green 
" — Dark Sea Foam 
" — Lily Green 



For the centers of the pink and Nile flowers, use old gold Nos. 409^, 0410. 
For the centers of the Maize flowers use browns Nos. 0410, 410, 411. No. 683 
Nile is an appropriate shade to use in button-hole stitch on the border sections. 
Other designs arranged for fish net that can be obtained of dealers in M. Hem- 
inway & Sons silks are : 

No. 2986/2 Poppy. 
No. 2985/1 Conventional. 
No. 2986/3 Conventional. 
No. 2985/6 Conventional. 



N. B. — Send six tzvo-cent stamps to the publishers of this book (see title 
page) at Watertown, Conn., for their book of thirty pages, size 8x11 inches, 
containing eighty illustrations of Eyelet Embroidery and Hardanger work with 
silk. 



LESSONS IN EMBROIDERY 



47 



California Pepper* 

Design No. 2981D. 

Sizes : 12, 18, 22 and 27 inches. 

Use Japan and Turkish 
Floss of M. Heminway & 
Sons for decorations and scal- 
loping of the edge. 

The California pepper is al- 
ways a favorite in needlework, 
and design 2981 D makes a 
charming table decoration. 
In general, the coloring seen 
in embroidered California pep- 
per is too deep, and we give in 
this article the proper nature 
tints. 

Description. — The berries are 
embroidered in satin stitch, 
and leaves and stems in Ken- 
sington stitch. In coloring 
they range from palest green 
to a bright glowing pink, and 
delightful combination is af- 
forded by the changing tones, 
wherein a single cluster, the green berries gradually ripen to pink. For green 
berries* use a single strand of 0682 running in 310^2 and 311. Semi-ripe coloring 
calls for 0682, 310K greens and 404 pink, in others 636 pink may be added to 
the above shades. All pink berries may be worked in 404, 636, 637 and in a 
few, run in for deepest pink 638. 

Leaves and stems are worked in the 310 line, but only a sparing use of the 
deepest 313 is recommended, just enough to give accent, but not so much as 
to render the greens sombre and uninteresting. Browns 300. 301 and 302 also 
work in to good advantage in the stems and old leaves. 

For the scallop use Turkish white 691. A couching of pink and green may 
be placed at top of larger divisions finishing with scroll ends. For this use 
8 strands, 3 of Turkish 404 and 5 of green 310^ and fasten them down with a 
single strand of green 313. 




298 ID. 



N. B. — We have no retail department or facilities for filling orders from 
private parties, but will cheerfully forward to nearest dealers any retail orders 
sent us. 

Prices at which white pure linen stamped doylies and centers are sold by 
storekeepers are : 12-inch, 15c. ; 18-inch, 30c. ; 22-inch, 50c. ; 25-inch, 60c. ; 
27-inch, 75c. 

M. Heminway & Sons Silk Co., 

Watertown, Conn. 



4 8 



M 



HEMINWAY & SONS 




PILLOW DESIGN 2965P/2. 



" Lazydazy" Decoration. 

Design No. 29650/2. 

Centerpiece. Sizes : 12, 18 and 
22 inches. 
Color Plate No. 11. 
A charmingly decorative cen- 
ter-piece is pictured in the ac- 
companying "Lazydazy" design. 
It combines individuality and 
novelty in effect, brought about 
through simple stitchery. 

The dainty, feathery clusters 
of the blossom are among the 
most familiar of the late sum- 
mer flowers and their very 
facile rendering in embroidery 
is a happy conception As the 
illustration indicates, the flow- 
ers are carried out in bird's eye 
stitch which is merely a loop 
held in place by a short stitch 
at the end. By means of this stitch, the many petals are readily produced and 
small clusters of French knots are used to form the centre. Two strands of M. 
Heminway & Sons' Japan Floss or one strand of Turkish Floss give the 
desired effect for petals. The delicate fernlike foliage requires fine, even 
feather stitch, and one strand of Japan Floss must be used here in order that 

the original fragile structure of 
the leaves be fitly represented. 

Any woman having a good 
color sense may give herself free 
rein in this design which is 
equally pleasing whether exe- 
cuted in different tones of one 
color or in combination of tints. 
The latter effect was chosen for 
the center-piece model illus- 
trated, the result being a charm- 
ing harmony of lilac tints to- 
gether with tones of pink and 
blue, and soft dull olive greens. 
Description. — For the lilac 
tints, shade numbers 590, 591, 
592, 593 of M. Heminway & 
Sons' Japan Floss will prove 
most effective, blending easily 
with pink cluster carried out in 
Nos. 540, 541, 542, or 543. Suit- 
able tints of blue are found in 
numbers 628, 629, 630 and the 
2965C/2 appropriate tones of green are 





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c^«# 










M. HEMINWAY & SONS 
"LAZYDAZY" Color Plate No. 11 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 49 

Nos. 428, to 431 and 512 to 514 with an occasional blending of brown No. 230^. 
The yellow centres are worked with Nos. 647 and 649. The nature tints of lilac, 
with white, are no less pleasing than the conventional colorings of blue or pink 
given above. Deep shades in all cases, must be used sparingly, for the color 
scheme should be soft to be pleasing and in harmony with the airy structure of the 
natural flower. For the scallop 691 Turkish Floss should be employed while 
a deft touch of color is given by couching seven strands of No. 683 pale green 
with one strand of the color predominating in the flowers. 

A single color in its various tones may be used in the flower cluster 
throughout the design. For the pillow, Turkish Floss is best suited. Dealers 
can furnish the design stamped on homespun linen — backs of same material. 
Darker tones of color should be used to bring out the best effect. Rich reds 
and deep yellows are appropriated for the clusters on the homespun back ground. 

Fish Decoration. 

Shades used in Color Plate No. 13. 
M. Heminway & Sons' Japan and Turkish Floss. 

Japan Floss.— Gray— 395, 396, 397, 398, 399, 1196, 1198, 1200, 1202. Purple— 
589, 1475, 1477. Pink— 232, 0235, 0238, 581, 582, 0582, 1655. Green— 434, 0682, 
682. Serpent — 520, 522, 523 y 2 , 671, 673. Brown— 226, 227 229, 230^, 230D, 230F, 
409^. White— -691, 341. 

Turkish Floss. — White — 691. 

A section of centre 2880 is the subject of color plate 13. It presents an 
admirable rendering of fish, gliding in among seaweed and white coral. The 
complete design has two smaller fishes with coral and weed, and the finished 
piece is unusually effective and unique. 

The plate well illustrates the color and stitchery of the fish, the shade 
numbers are given below. The Kensington stitch may be begun back of the 
gills working on to the slender joining of the tail. The tail may be worked 
from the ragged edge inward. Pad the outline and division lines of gills, and 
work from these forward to the mouth. Along the back and beneath the dorsal 
fin, use gray green 399, shade through 398, 397, 396 and 395 and then into grays 
1 196, 1 198 and 1200. The green of the back is dashed with blue 673 and oc- 
casional stitches of 230 maize. As greens approach the grays the brown dashes 
change to 230 and 226 and pale blue dashes of 671 are seen over the 395 and 
gray tones. 

The head is lighter in general tone, the edges of the gills are 395, a few 
dashes of 671 are worked over the blending in of 396 and 397. Back of and 
inside the mouth is 398. The mouth is worked in 606 and a bit of 607 salmon. 
Use 409 J/2 for the eye, the stitches of which are slanted, following the circular 
shape — the pupil is a French Knot of 690 black. 

With two (2) strands of 399 work the serrated edge of tail and fins. Shade 
lighter toward the body using, in the tail, the entire 395 line. Blue single thread 
stitches on fins and tail are 693. 

Scale markings give the finishing touch to the fish. These consist of the 
arrow point stitch which is described among the fancy stitches in the front of 
this manual. Use 673 for scales on the green, and 1202 when working over trr 
gray. 

In the shell seen below the fish, the ridges of the convolutions are rr 
with chain stitch of cotton, also the top which rolls back. Begin with 



5o 



M 



H E M I N W A Y 



SONS 



strands of pink 582 at the pointed tip, use 0582 for second division, 581 for 
third. The fourth is begun with 589 lavender and a single strand of 1475 shades 
into this. 0682 green commences the next, while the above given lavenders 
blend into this where the coral crosses over the shell. In the last and largest 
division the colors are placed in the following order : 691 white, 0682, 682 green, 
581 pink, 1475 lavender and 0582 pink, render the rolled edge. The inside of 
the shell calls for 1655, 581, 582, while the rolled edge is carried out with satin 
stitch in 691. 

The coral is perhaps the most interesting part of this decoration, so wonder- 
fully realistic is its rendering, and yet it is very easily accomplished. First 
underlaid with cotton, it is afterwards covered with satin stitch, the stitches 
placed at an angle, as in heavy stem-stitch. It is the clever introduction of 
French Knots on top of all this which gives the true coral appearance. The 
knots vary slightly from the ordinary, each one having a little stem, as it 
were. That is, the needle is put through to the right side, the thread wound 
around it, and it is then inserted about an }i of an inch from the point where 
it first appeared. Use white 691, cream 341 for the lightest portions of the 
satin stitch, shading into 1196 and 1198 for darker portions, and 1200 and 1202 
where one branch falls behind another. The knot stitches correspond to the 
foundation in shade number, save that 341 is always knotted with white. 

Delicate tracery of sea weed is carried out in purplish reds, 232, 0235, 0238, 
and water lines are outlined in 520, 522, 523 J / 2 serpent greens. 

The scallop is long and short buttonholing of 691 White Turkish Floss, and 
Japan Floss in green and pink, shade 682 and 1655, are worked in irregularly 
in the order given, the pink extending well up from the edge and often partly 
hiding the water lines. 

Two smaller fishes are worked in gray and brown respectively, and in the fol- 
lowing shades. Gray fish 1196 
through to 1202, 691, 0682 
lines in fins, and scales 230F, 
mouth 607, eye 409^2 with dot 
of 690. The brown fish has 
head and gills of 226, 229 and 
230^/2. Along the back is the 
darkest coloring which shades 
light toward the tail. Use 
230D and 230F and gradually 
work lighter, using the shades 
given for the head. Gray 
shades in the under part of 
the fish, 1 196 and 1200. Scale 
markings are of 434 green, 
which also is dashed in the fins 
worked in 230^ and 230D. 
Occasional bits of green weed 
require 0432 and 434 green. 
The center shown here is 
: te similar to design No. 
and the description given 
is applicable for both. design no. 2750 — 25 inch 





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LESSONS. IN EMBROIDERY 



5i 



Syrian Centerpiece. 

Design No. 852c. Size, 25 inch. 




SYRIAN DESIGN. NO. 852C. EMBROIDERED. 

Syrian embroidery is a new form of needlework which is especially adapt- 
able to old conventional patterns. Centre 852C, which is worked on coarse 
homespun linen, illustrates this novelty. The method of working is extremely 
simple. The design scrolls are divided into sections, and the embroidery con- 
sists in working in satin stitch and then outlining on three sides of each section. 
The effect is that of overlapping scales, which is the characteristic of Syrian 
design. In the long scroll pattern illustrated, these scales seem to spring one out 
of the other, like the growth of some varieties of cactus. 

Underlay the work with cotton, and the use of colored filling is recom- 
mended, infinite varieties of shading being obtainable. The satin stitches are 
laid to follow the growth of the scroll. Use Turkish Floss of M. Heminway & 
Sons for Syrian work in numbers 525, 526, 526^, 528 and 530. Reds make an 
attractive coloring with the lightest shade used on the two top and bottom 
scrolls. The second pair from top are in 526. 527 makes the first curve as 
the branching spreads to the sides, and 530 completes the branch. Above is a . 
group of two scroll curves in 526^ and 530 makes the last section of this branc/'ale 
ing. The outlining for each section is done with the same silk as its satin s 



52 



M 



HEMINWAY & SONS 



filling. Use 528 for scalloping and couch or outline above this with a lighter 
shade. The 290 line in old blues, the 370 line of greens, or the 0408 line of yel- 
lows are also recommended. 




SYRIAN DESIGN. NO. 852C. SIZE 25 INCH. 



Empty Spools of 
M. HE,MINWAY & SONS' 

"Sublime Quality" 
100 yards Silk look like this. 




E,mpty Spools of Sewing 
Silks, put up with Fancy 
N«vmes, look like this. 




Enough Se^id. 



LESSONS IN EMBROIDERY 



53 



Pansy Decoration. 

See Color Plate No. 17. 

Comparatively few 
specimens of this ''vigor- 
ous and various" flower 
are shown in color 
plates, as there seems to 
be no limit to the in- 
numerable variety, the 
possibilities of color and 
combination of this off- 
spring of violet parent- 
age. Indeed there are 
few tints and tones not 
called upon to contribute 
to its generous "make- 
up," the effect of which 
bears so closely at times 
upon an almost human- 
featured face, that the 
appeal to the imagina- 
tion is irresistible. 

It is difficult to realize 
that, in its original state, 
the pansy was a tiny 
"tri-color" of one variety, 
plain in garb and sombre tint, a veritable little quakeress among her gayer sisters. 
But we are told that in the early part of last century, it was unknown to culti- 
vation and general recognition, growing wild as a common weed, its beauty "born 
to blush unseen ;" but its "sweetness" was not destined for the "desert air." Its 
evolvement was due to the fancy of an English girl, who found a plant by ac- 
cident, and who, pleased with its appearance, planted and replanted its seed, 
and gave them all such careful attention that she was very soon rewarded with 
a succession of blooms of constantly increasing design and variety, which im- 
provement continues to the present time. The evolution of to-day, like pansies, 
"is for thoughts." 

While the best models for the embroideries may be taken from the growing 
plant, for every tone of whose flowers there is a match in M. Heminway & Sons' 
Japan Floss, some of the varieties in the illustrations here shown may be selected 
for further guidance, and being copied from nature, are true in color and union, 
while innocent of exaggeration. 

A very effective one is that in dull pinks, and it is worked in Japan Floss, 
numbers 231 to 0236. 

Another, in shades of 231, is combined with Yellow beginning with 360, 
shading as deeply as 367. 

The very rich purples, 1477 to 1489, are used alone for some. A different tone 
of same color, 589 to 595, for still another, and a variation of this is 556 to 561. 
Some of these are purple alone, while some have markings in yellows and pale 
straw color. 




DESIGN NO. 292IP. SIZE: 22 INCHES. 



54 M. HEMINWAY & SONS 

The effect of rich crimson velvet is brought out in some of the flowers by 
using 527, 528 and 529, lined with black or golden-brown, while this latter color, 
No. a4o8, and yellows 0645 to 653 are artistically combined. 

A white pansy is made by working the surface in white, 689, beginning with 
two strands, and using next a single strand of white, which will make a decided 
shade, and shading toward centre with Green, 0682. The three lower petals or 
"face" being lined with 1485 purple. 

Pale Pink Pansy.— 341, 344, 345, 4*3? lin es in face, 528. 

White and Purple.— 691, 682, 683, 1475 to 148 1 ; lines in face, 1485. 

Yellow. — 0645, 646 to 649; lines in face, 411 or 529 or 1487. 

Purple. — 1475 to 1487, or 590 to 594; lines in face, 646 or 1491 or 651. Dull 
Purples — 270 to 275 ; lines in face, 646. 

Golden Brown. — 0408 to 410; lines in face, 415^ or 1489. 

Purple and Pink. — 1475 to 1487, and 341 to 346; lines in face, 1489. 

A good effect is obtained by using two strands of 1475 as margin of face, 
shading with Yellow a645, using a single strand and through these shades to 
648, making the lines in face 1485, the two top petals Yellow, a645 to 648, or 
Purple, 1475 to 1481. For the centre use 650, Yellow, and on either side a stitch 
of Green 370 or 0428. 

These combinations could be indefinitely continued, but the most satisfactory 
way, which is nearest truth, is to use the freshly cut pansy from the plant. 
Having matched the various shades with the Japan Floss (as before suggested) 
to the natural flower with the latter before one, it would be difficult to make an 
error in its reproduction, unless one is "color blind," in which case embroidery 
of any kind should be out of the question. 

Different tones of Green which make a very good effect, are employed for 
leaves, stems and calyxes, and these two tones are blended in a single leaf or 
separately worked as preferred — 481 to 486 are soft shades and harmonize with 
the wood color of basket and the flowers above, while 240 to 243 give a touch of 
brightness and life to the foliage. The curved stems when thrown against the 
background are worked light, the calyxes light at tips, shading darker toward 
stems ; the latter having any length are worked light through the centre, shading 
darker on sides. This preserves their raised and rounded form and the same 
rule will be found to apply to most of the stems in embroidery, position, of 
course modifying them. 

The rounded effect must also be studied in all curved petals, and with this end 
in view one should commence with two strands of Japan Floss in extreme edge 
of petal (both strands removed at once from skein, their twist running dozvn from 
needle), and following the shape of petals place stitches so that they will fall in 
what would be the natural grain or line, not pointing sharply to centre, as in 
case of many leaves ; into this first row, work next shade, using a single strand 
and so continue to the centre or eye, or as the pansy wears so human an expres- 
sion, one might say the "nose," which is of Dark Yellow with a stroke of Pale 
Green or White on either side. The three lower petals are called the "face," and 
it is there that the "expression" properly placed gives it character and individu- 
ality, and where the "lines" should evenly, regularly and lightly lie. 



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X 



LESSONS IN EMBROIDERY 



55 




2940P. 



Pansy Center* 

Design No. 2940P. Sizes: 
12, 18, 22 inches. 

Color Plate No. 17. 
M. Heminway & Sons' Japan 
Floss for floral decorations 
and Turkish Floss for scallops. 
Japan Floss. — Purple — 349 
350, 35i, 352, 354, 355, 356, 
1477 and 1485. Yellow— 0645, 
646, 648, 651, 653, A408. Green 
—370, 372, 373, 374, 375. 
Turkish Floss. — White 691. 
Description. — Anyone of the 
other combinations given with 
the color plate may be added 
to this scheme of yellow and 
purple, suggested by the color 
line. We recognize the mad 
wisdom of Ophelia saying, 
"There is pansies, that's for 
thoughts" when we begin to 
embroider them, for they do require thought and discrimination if their render- 
ing is to be successful. 

Use 691 Turkish Floss for scallops. Above large portions ending in scrolls, 
couch 7 strands of combined 1477 purple and A408 yellow, with single strand 
of 1485 purple. 

Rooster Decoration* 

Shades Required. 

M. Heminway & Sons' 
Japan Floss. — Old Reds— 
526, 526^, 527, 528, 529, 
530. Yellows — 0408, 408^, 
0409, 409, 409 V2, 0410, 411, 
412. Black— -690. Brown 
—624. Greens— 433, 433^. 
434H, 434^, 435^- Gra y 
—1200. White— 688. 

Either as a picture, pil- 
low, or as the base of a 
tray, the splendid cock 
forms an excellent ex- 
ample for needle painting. 
Since the cocktail tray 
has insinuated itself in 
many a household, the 
housewife who is looking 
for pretty novel conceits, 




56 M. HEMINWAY & SONS 

will be pleased to se.e this one which she can readily carry out at the point of 
her needle. 

A deep bevelled picture moulding will serve as a tray edge, and when the 
linen is tightly stretched beneath glass and firmly fitted with a light wood back, 
a very satisfactory tray results to which a practical finishing touch is given, by 
attaching to each end light metal handles. 

In embroidering birds of any sort, close attention must be given to the 
stamping, that the formation of the feathers be not lost. One must feel that each 
feather overlaps the one beneath, so there must be careful adherence to outlines. 
Let us begin with the comb which, must first be padded with chain stitch of cotton 
along the top. For the color use M. Heminway & Sons' Japan Floss. Select 
526^ for the high lights along the top of the comb points — shade 527 into these 
below and to the right, which is the shadow side. Into this 530 runs, with a few 
split strand stitches of 690 black, close to the head. The wattles also must be 
padded along their lower edge. Turn the work, and proceed from padded edge 
to the head with the same order and shades as given for the comb. The breast 
is darkest beneath the wattles shading from 530 to 528, 527, 526 and 526^ at the 
high light placed in the most prominent part of the breast. The same shades then 
work back to the dark feathers of the legs. The direction of stitching is simple 
and easily discernible in the illustration. Dark brown 624 is worked in among 
the stitches of 530 deep maroon in the leg feathers, and each one of these is out- 
lined with black 690 to define it. The feathers of the breast are marked by means 
of small crescent curved lines of couching, a single strand couched with the 
same shade, and corresponding with the shade of Kensington stitch which it 
overlays. Wings and tail feathers are glossy green. In the wing, the stitch 
curves as indicated by the pattern, and each long feather is shaded from upper 
to lower edge with green 435^2, 434%, 433%, and an outline of 690 is placed be- 
tween each. The tail feathers show a central shaft toward which the stitches 
slant, and for these, to the greens used in the wings, should be added 433, also 
occasional split stitches of the golden yellows mentioned later. One's judgment 
will suggest keeping tips, and most prominent feathers light, and shading dark 
close to the body. Use black or dark green outline for the central shaft, accord- 
ing to the tone of each feather. 

For the bill use 0408, 408^ and 409. A line of 409^2 separates the two 
portions of the bill, which should be padded on its edges. For head and back 
the shades are 0408, 408^2, 409J/2, 409, 0410, 411, 412. The feathers are lightest 
just beneath the comb at the curve of the neck and where they fall over the 
top of the wings. The long pendant feathers at the back call for deeper shad- 
ings and defining tones of still darker tones. Irregular stitches placed over the 
embroidery of the neck will suggest the idea of overlapping feathers. Split 
stitches of 409^ should run over the red of the comb, and a shadow of 0410 
above the eye and back of the bill throws them both into prominence. The legs 
and toes are embroidered lengthwise with 0409 and the scales are marked with 
outlines or fine couching of 412. A stitch or so of 690 black and 1200 gray 
forms the claws. The eye setting has a ring of red stitches 527 pointing into 
an outline of black. An outline of 688 is placed next, then white again next to 
the black pupil. 

Tiger's Head Decoration. 

Explanatory of Color Plate No. 10, 
Embroidery of regal splendor is presented in the accompanying Tiger's Head 
which is adaptable to an elaborate Princeton pillow, or fire screen, should one 







.,;,, .;. : 











I? 



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LESSONS IN EMBROIDERY 57 

wish to put it to a practical as well as ornamental use, which it does not obtain 
when simply framed as a picture. The gorgeousness of color demands a fitting 
background, and a sumptuous and wholly appropriate mounting is afforded by 
heavy black silk or satin. 

The illustration should be well studied before commencing one's piece of 
embroidery, for the direction of the stitches is of prime importance and this 
must not be forgotten if successful results are desired. More latitude may be 
taken in the placing of colors than in the slant of stitches, a fact which ofttimes 
escapes the mind. The Turkish and Japan Flosses of M. Heminway & Sons 
are used throughout in this piece of needle painting, Turkish Floss for the most 
part, softened by single threads of Japan. 

The forehead is a good place to commence the stitches, slanting back from 
this point gradually change in direction between the ear and eye to curve down 
and backward near the ear, and downward round the eye to the throat. These 
general directions are indicated by the stamping. More delicate modeling is re- 
quired about the muzzle. Directly between the eyes, the stitches follow the 
slant of the nose, while they change in direction lower down, so as to curve 
across above the nose, and sweep down around the open, snarling mouth, de- 
picting the wrinkled jowl. In working in the various shades the needle must be 
slanted through in a gliding manner, never inserted directly up and down. The 
triangular shape of the nose dictates the slant of its stitches, which run straight 
up from the point above the teeth, and outward over each nostril. The stitches 
at the side of the nose follow it in direction and are modified slowly so as to 
run in with those of the cheek. In the eyes, the yellow iris is worked round 
the black pupils and a high light is carried out with a straight backward slanting 
stitch. Above the eye, the stitches curve upward giving the bushy effect of the 
eyebrow. The directions for teeth, beard and whiskers are plainly discernible 
in the color plate. An occasional glance at the pet cat may prove helpful in 
embroidering the tiger, for the two are close of kin and fur grows alike whether 
in the western world or the jungles of India. If one has a good picture of a 
tiger's head, this also will be of great benefit, and with attention, patience and 
careful following of the directions, the problem need not prove so diffcult as to 
discourage the careful worker. Reference to the tinted head, displayed on linen 
pillow top No. 2500/1, will be of great service, even when working on a dark or 
satin background. Sold by dealers in M. Heminway & Sons silks. 

Color Description. — The lay of the stitches being well in -mind, as before 
mentioned, begin at the forehead, the slight arch of black Japan Floss No. 690 
giving a definite starting point. The stripes across the top of the head shade 
from black to bright golden brown and back to black, Nos. 548, 547, 411 and 
0410 and occasional stitches of No/409 being required to give the proper grada- 
tions. Light gray and yellow appear with brown and black on top of the ears, 
0409 and 0408 being the yellow tints, while 1202 gray is softened by single threads 
of white Japan Floss No. 688. The ear tips are brown, say 548, and black ap- 
pears here as well as in the deep shadows under the ear. All of the above 
mentioned browns and yellows, together with black and white are worked into 
the hair as it curves down under the ears and back to the neck which ends with 
dark brown No. 549^2. A dark stripe of black and brown extends from behind 
the ear standing in sharp contrast with a light stripe which precedes it, and 
which brings into use all the lightest tones of maize and yellow, with white. 
Extending from the forehead down above the nose, the bright, strong, yellow 
and browns prevail, while softer tones again take precedence at each side of the 
nostril. On the nose 0408 shades into tan 226 and then to 690 white. A bit of 



58 



M 



HEMINWAY & SONS 



red 659 may be worked in above the black of the nostril. The reds of the tongue 
are 658, 660 and 662 worked in 690 black in the shadow under the teeth, which 
latter are worked with 1202 gray and 1196 also black and 0408 yellow. The 
beard shows the same shades of gray with white 230D brown, and light touch 
of No. 0408 yellow. The bushy hair above the eyes calls for 0408 and 688 white, 
690 black and single stitches of 1202 gray. The eye itself shades from light to 
deep yellow while the pupil is black with high light of white. Eyebrows and 
whiskers are the finishing touches and these are done in white underlined with 
black. 

Too much cannot be said regarding the single thread stitches of Japan Floss 
which must be used throughout this design, working them over the heavier 
Turkish Floss. The same shades will be required in Japan as in the Turkish 
Floss and these soften and blend in the shades, greatly adding to the general 
effect. 




2500/3 



Horse's Head. 

Design No. 2500/3. 

M. Heminway & Sons' Japan Floss. 
—Browns— 547, 548, 549, 622, 623, 303. 
Tans — 229, 230 T /2, 230^, 230E, 230F, 
230D. Grays — 1196, 1198, 1200, 1202. 
White — 691. Black— 690. 

No fitter picture can be found for a 
needle picture than the fine sorrel 
horse's head which is illustrated. Such 
a picture is well worthy of the em- 
broideress' best efforts and she will 
find this needle painting extremely in- 
teresting. The horse, his coat, glossy 
from good grooming is readily pro- 
duced in silk embroidery and the full 
color line of M. Heminway & Sons' 
Japan Floss gives one perfect scope in 
shading. This attractive piece may be obtained, stamped and tinted from the 
dealers. Several methods might be applied in developing this study, each one 
with equal success, and she who feels herself competent to undertake so am- 
bitious a piece may prefer to proceed after her own inclination, still for the 
benefit of those less confident, a description of a workable method may prove 
helpful. 

To work from the top downward is the general rule for all embroidery and 
of course this applies here. Each stitch, however, must run from down up- 
wards, the needle gliding in among the first made stitches ; never insert the 
needle directly up and down, for unless the silk is made to shade in among the 
first stitches, proper shading is impossible. 

Description. — With two strands of M. Heminway and Sons' Japan Floss 
623, begin the tip of the ear and work down along the outline about ^-inch, 
directing the stitch slightly toward the inside of the ear. Brown 622 follows 
this along the side of the ear nearest to one, and 547 may be used on the opposite 
side. The inside of the ear should be worked in 548, 549. White and black in 
single thread must be sparsely worked over these to give proper depth of 
shadow. Here the stitches slant, following the directions of the ear toward the 



LESSONS IN EMBROIDERY 59 

head. The same silks and general shading apply to both ears, the edges being 
kept lighter than the inner and outer portions. 

From the ear, next work down the neck giving constant thought to the 
slant of the stitches, for the sleek coat must never appear to be rubbed the 
wrong way. 622, with the stitch directed downward, starts back of the ear and 
following the direction of the throat lash, 623 is worked into this. Once away 
from the outlines, single strands should be used and one shade worked gradu- 
ally into the next without any perceptible line. The stitches of the neck must 
of course follow it in contour and extend well up under the mane. Into 623 
work in 547 and 548 and extend this down into and around the high light of 
622 which gleams on the front of the neck. Black 690 must be worked over the 
brown beneath the mane and also directed under the throat lash. The space 
between the ears is mainly covered with the forelock, but 622 should be at the 
side of the right ear and, as in the case of the mane, carried well under. Work- 
ing down the face, the stitches beneath the head band spread out to right and left 
toward each eye. 622, 623, 547, 548, 549 and 230^ browns, together with 690 
black are required in this portion, the black and light tan 230^4 coming least into 
play. 

Browns shade to tans and change to grays in the nose, and here more than 
ordinary attention must be given to the lay of the stitches. 229 and 230 are the 
additional tans required to shade into the sorrel tints, a small patch of these 
appearing just above the nostril and at the right side of the animal's white nose 
marking, which will be referred to later. Shades of gray 1198, 1200 and 1202 
together with black 690 work out the muzzle and nostril edge. The grays are 
worked around the nostril rim 1202, with scatterings of black shading to 1200 
and 1 198 around the mouth which is defined by a line of black. The turn of the 
nostril is worked in 1200, the stitch here running in toward the opening as in 
the working of any oval opening. Within the nostril, use 548 worked over 
with 690. 

The eyes next demand attention. The folds of the eyelids are executed with 
stitches running lengthwise, of course following the corner. For these, use tans 
230^ and 230^4, 229 with darker tints of 547 and 548 defining the creases. Be- 
neath the eye, 690 black is worked over into the browns of the face referred to 
above. The eye is worked in 548 and 690 with an outline of 548 and 230^. The 
lashes and high light with 1196, 229 and 622. The white patch of the nose we 
leave until the last. Just between the eyes is the pretty star marking with the 
stitches radiating from the centre and continuing the length of the nose. 1196, 
with touches of 1198 form the main part of this marking which gives both the 
character and high light to the whole picture. Single threads of the palest tan 
229 are sparingly worked in along the edges of this, and in one or two places are 
little spots where sorrel speckles the white in a very natural fashion. 

The mane and forelock require good handling of tan 230F, 230E, 230D, 
230>>4, 229 and occasional bits of 622, 548 and 549. Let the stitches curve grace- 
fully over the arch of the neck and show a slight undulation back of the ears. 
Use the darkest shades most sparingly, merely occasional threads of 548 and 549, 
keeping the forelock in the three lightest shadess of tan. The bridle should be 
worked in 690 black with an inner line of 303 and buckles of 1202. The stitches 
of course, follow the curves of the various strappings and are worked toward the 
centre for buckles and rings. This design tinted on Tan Ticking can be obtained 
at stores where M. Heminway and Sons' Silks are sold. Price with back ma- 
terial, 6cc. 



00 



M 



HEMINWAY & SONS 




Daisy Centerpiece. 

NO. 799C. 

Materials — M. Heminway & Sons White Mount Mellick Silk, size G, White 
Linen Satin Damask. 

German Mercerized Coronation Cord, size 15. 

Description — The stems are outlined in silk; the leaves worked in plain 
satin stitch; the centers of the daisies in French knots; the petals are formed 
by appliqueing — two kernels of cord to each one — and the cord is couched on 
the double lines that form the border of the design. 

The method of attaching the cord is to first make a hole in the linen (at 
the base of the flower) with a stiletto (see page 16), or point of scissors, draw 
the cord through the hole and fasten down on the wrong side with the same 
silk used in the other parts of the design. 

The space between the two lines of cord on the border is filled in with 
fancy feather stitches. 

This design is also well suited for the use of Turkish Floss — and may be 
preferred by some, because of its flossy smoothness, and great brilliancy, though 
Mount Mellick Silk, being quite a firm twisted silk, is more appropriate, if 
durability is to be considered. 

This white center piece is a universal favorite, worked as described. 



N. B. — We have no retail department or facilities for filling orders from 
nrivate parties, but will cheerfully forward to nearest dealers any retail orders 
sent us. 

Prices at which white pure linen stamped doylies and centers are sold by 
storekeepers are: 12-inch, 15c; 18-inch, 30c; 22-inch, 50c; 25-inch. 60c; 

M. Heminway & Sons Silk Co., 

Watertown, Conn. 



O 3 



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o * 

2. 8= 

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CI 






LESSONS IN EMBROIDERY 



61 



Poinsettia Decoration* 

Description of Color Plate 
No. 12 and Centerpiece No. 
2980F. 

Sizes : 12, 18, 22 and 27 
inches. 

Materials — M. Heminway 
& Sons' Oriental Dyes Japan 
and Turkish Floss. 

For the Flowers — Japan 
Floss— Reds.— 6, 8V 2t 10, 
10V2, 013, 017, 019. 

Leaves — J a p a n Flos s — 
Greens— 371, 372, 372 Y 2 , 373, 
374, 375- Old leaves— 230, 
230D. 

Center of flowers — 373, 374, 
650, 654- 

Scallop — Turkish Floss — 
White 691, Green 3io l / 2 , 
Pink 581. 

Work the top petals of the 
California Poinsettia in the 
three lighter red shades — using the darker ones for the lower petals ; use more 
of 10^2 and 013 as these two colors predominate in that flower — the flaming 
reds. The centers of the flowers are in green 373 and 374. For the bulb at 
the top use yellow 650, also a little of 654. The leaves are in the sage green 
371 to 375, shading as in the ordinary leaf, using a little of the brown shades 
230 and 230D in with the green for the old leaves. 

The scallops in this center are worked with 691 white Turkish Floss. 
The couching above the scallops is in green 310 Turkish, using light strands 
fastened down with one strand of white 691 Turkish Floss. 

In each section above the small scallops white fish net is inserted. Fancy 
stitches can be used in this space instead of the net if desired. 




NO. 2980F. 



Poppy Decoration* 

See Color Plate No. 18. 

To effectively work the Poppy or any other flower of like proportions having 
open petals, it is best to commence at top of petal, gradually shading through the 
deeper tones to desired effect, being careful to work the tones irregularly into 
each other with uneven stitches so that they will blend with no line of demarka- 
tion. The order of color is reversed where opposite effects are to be attained, 
and much depends upon position of flowers upon the article to be worked and 
that of the different petals in relation to each other. 

To work this design as illustrated, commencing at top of straight petals, work 
with two strands of silk drawn at same time from skein which has previously 
been cut through either end. These strands will be short, but as there is no diffi- 
culty in renewing the thread in this style of embroidery it will be found that the 



62 



M. HEMINWAY & SONS 



work will be smoother. See that the twist runs to lower end of strand — that in- 
serted in the work — and have this direction uniformly maintained. This may 
soon be easily distinguished by passing the silk between the forefinger and thumb 
and a little practice will enable one to readily discover the direction of twist. If 
this rule is observed the shading will be much more uniform and the work much 
smoother, as there will be less liability for the silk to roughen in passing through 
the fabric to be embroidered. Do not use smaller needle than No. 8 for double 
thread and No. 9 for single thread, that the silk may have full play through the 
slender eye lying flat upon work when distributed and not be crowded or twisted 
upon itself. 

The Red Poppy in color plate is worked with shades 655 to 661, the light and 
medium shades sparingly, as a reference to color plate will suggest, and the light- 
est for the "high lights" as indicated. 

Should it be desired to have the work heavy, as is appropriate in flowers of 
this dimension, begin with three threads, instead of two, of same shade ; shading 
into this consecutively with two and one strand. The turn-over sections are 
worked "solid" or in "satin stitch," being first padded or dashed back and forth, 
most of the thread lying upon the outside and in a direction opposite to that of 
the "satin" stitches. This "turn-over" portion is sharply outlined on either edge, 
not blending with anything, but resting naturally upon and outside of rest of 
petal. 

Make pollen and stamens black, 690, and the bulb of 371 and 2>72>- 

The small poppy is worked in Japan Floss. Nos. A655 to 656, and the color 
plate will best serve to illustrate its fine and delicate shading. 

The leaves are worked in shades 370 to 374, using two strands on outer edge . 
of leaf, shading toward centre with one strand. 

The fuzzy effect of stem is made by taking on each side of stem when fin- 
ished, at irregular intervals, with one strand, short stitches in 370 and 371 at 
right angles to stem. Buds in 370, 372, 373, light at tip, shading dark to stem. 
The flower part of buds darker than body of poppies to which they are attached. 

The white poppy is worked almost entirely in No. 691, shading toward base 
and when shadows are naturally cast into Pale Nile, 0682, 682, 683. One petal 
should be touched with 405, 406 and another with 404, 0405. 




mimmmwimwiiiiiimiiimmwimwim 




^\® account of a growing demand for fa.shiona.ble dress shades 
^f in Twisted Wash Embroidery Silk and Crochet Silk 

suitable for fagoting, feather-stitching and making of French knots on 
waists and skirts, 

THE M. HEMINWAY & SONS SILK CO 

are prepared to supply dealers with the correct tints, dyed to match 
advance samples from Paris. 

Ask for them at stores where 




M. HEMINWAY & SONS 





M. HEMINWAY & SONS 
POPPY Color Plate No. 18 

Keprodueed «„» origin*, tnode.s entoroidered wito 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



63 




2940PY. 
red and 682 green, fastened with 374 green. 



Holly Center* 

Design No. 2981E. Sizes : 
12, 18, 22 and 27 inches. 

Use Japan Floss of M. 
Heminway & Sons for floral 
decoration and Turkish Floss 
for scalloping this design. 

Japan Floss.— Red— 8, S T / 2 , 
10, ioy 2 , on, 013, 015. Green 
—370, 372V 2 , 373, 374, 375- 
Brown — 230, 230^, 230E. 
Black — 690. 

Turkish Floss. — White — 691. 
Green 683. 

Description. — The most ef- 
fective holly is dark with crisp 
high lights, position and size 
of leaves largely determining 
their coloring — underlying ones 
being deepest, smallest ones 
brightest, and those nearest 
one, lightest in tone. For 



Poppy Center* 

Design No. 2940PY, Sizes : 12. 
18, 22 inches. 

See Color Plate No. 18. 

Use Japan Floss of M. 
Heminway & Sons for floral 
decorations, and Turkish Floss 
for scalloping. 

Japan Floss — Red — 2 through 
to 015. Yellow — 645, 647, 650. 
Black — 690. Green — 0428 to 
431 V 2 and 682, 374. Browns 
—228, 230^, 230E. 

Turkish — Green — 683. 

The article "Poppy Decora- 
tion" following color plate No. 
18, makes description of this 
centre unnecessary the dis- 
position of color being so well 
exemplified. 

Scallop.— Use 683 Turkish 
for scallop, and inside this a 
couching line of blended 0408 




298 IE. 



64 M. HEMINWAY & SONS 

small bright leaf begin with 2 strands of 37234 Extend a stitch at the point 
to make these sharply defined. Shade 373 and 374 into this with single strands, 
directing the Kensington stitches toward the mid rib from each side. Vein 
with 375 for contrast. Under sides of leaves are always light— 372, 370 with 
occasional bits of brown 230 near the serrated edges. Use browns 230, 230^ 
and 230 E, together with 375, 374 and 373 greens for old and withering leaves 
— and the veining in these may be light. Berries are worked in satin stitch 
from stem to pit. Use 8 and 854 f or lightest, 10, \oV 2 and on for the majority 
and 013 and 015 in the darkest. Make a French knot of black 690 in representing 
the tip, or miscalled seed. 

For large scallop ending in curved lines use 691 white and 683 green. 

Turkish Floss is very pretty for the remaining portions. Couch above the 
scallop if desired. 

California Poppy Decoration* 

Descriptive of Color Plate No. 7. 

Embroidered with Japan Floss. 

Flowers'.— Yellows— 360, 361, 362, 363, 366, 367, 0409, 40954 409, 654, 65434 
Dull Reds— 235, 236. 

Foliage.— Greens— 371, 372, 373, 374, 375, 241, 24154 242. Browns— 300, 
303, 304. 

Description. — Underlay edges, petals and turnover portions with chain 
stitch of cotton before embroidering in Kensington stitch. Commence with two 
strands of silk, well covering the outlines, then shade in with single thread. 
The central full jloom flower of the color plate utilizes the following shades. 
The petal to the left is edged with 361, into which is shaded 362, followed by 
363, single stitches of 409^ spread out like rays where the petals join the calyx. 
The opposite petal is begun with 360, then 361, 362, 363 with a few stitches of 0409. 
The lower petal shows darker coloring as it is begun with 40954 shades into 409, 
then into 362. The turnover is worked in 363. The top petal is lightest of 
all, 360 extending well into the petal before it blends into 361, 362, 363, and 0409. 
The turnover is of 409. Ray like stitches of 409-40954 extend out from beneath 
the pistil of green, and similar stitches of dull red 235 and 236 are worked over 
and among these. Pistil of green is tipped with 372 and finished with 373.' 

The next largest flower being less opened is of darker coloring. The 
central rear petal is begun with 40954 and a very few stitches of 0409 at its 
left hand edge. 409 works immediately into these and is brightened with 366 
then 367 and a few final stitches of 654%. 409, 366 and 367 are used in order 
named in the tiny petal at the left. The upper right hand petal is begun with 
0409 with 40954 and 409 following. The forward petals are light, the larger 
one running from 0409 into 40954 and finishing with 409. Turnover of 361. 
The small petal begins with 361 and finishes with 367. The same shades with 
exception of 654^4 appear in the full right-hand bud, while the dark shades 
are again prominent in the small bud low down on the decoration. One bud 
shows the yellow just bursting and lifting up its odd little protecting cap of 
green which so quaintly suggests a candle snuffer over a yellow flame. 

373 and 374 greens are used for the calyx, with touches of 303 and 304 
browns. The foliage, light and feathery in structure, is consistently so in 
color also. The soft tones of 371 and 372 and 241 are the predominating ones, 
while a more sparing use is made of 24154 and 242. 373 and 374 are also used, 








*Q 





M. IIEMINWAY & SONS 

CALIFORNIA POPPY. ..Color Plate No. 7 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 65 

the latter serving to give accent. Stems are mainly 373 and 374. 302 and 303 
browns give an appreciable variety in some of the tiny leaves. The green cap 
on the bud before mentioned is worked with 372, t>73 an d 374 with a few 
stitches of 375 on the shadow side. 

California Poppy Center. 

Design No. 2980E. 

Sizes : 12, 18, 22, 27 inches. 

The proper colors for this 
design are enumerated in the 
article concerning the color 
plate, and the flower is so 
simple as to require but little 
supplementary remark. Al- 
though it be but repetitions 
to write it, still we must em- 
phasize the need of variety 
in shading, for variety is all 
the more necessary where 
the decoration is composed 
of flowers of a single color, 
as in this center. 

The scallop may be elabo- 
rated by lines of couching 
above the larger portions. 
Turkish Floss 691 should 
NO. 2980 E. be used for the button- 

holing, and couching of 
green 371. Seven strands fastened, with 374 green will be attractive, the small 
divisions may be buttonholed entirely with 372, with feather stitch lines of 371 
springing above them. The yellow of the blossoms being such a positive color, 
it is advisable to introduce only greens in the scalloping in addition to the white. 



Publisher's Special Notice. 

This Treatise on Embroidery is not a regular catalogue of all designs sup- 
plied to dealers, the entire line being much more extensive. It is the purpose 
of the publishers to be able to fill wholesale orders for designs shown herein 
for some time to come, but to keep pace with the requirements of the art stores 
for new things the arrangement of flower sprays and borders will be changed. 

We have no retail department or facilities for filling orders from private 
parties, but will cheerfully forward to nearest dealers any retail orders sent us. 

Prices at which white pure linen stamped doylies and centers are sold by 
storekeepers are as follows: 12-inch, 15c; 18-inch, 30c; 22-inch, 50c; 25-inch, 
60c. ; 27-inch, 75c. 

M. Heminway & Sons Silk Co., 
New York. Philadelphia. Chicago. San Francisco. 




66 



M 



HEMINWAY & SONS 



Carnation Center. 

Design No. 2980A. Sizes: 
12, 18, 22, 27 inches. 

Use M. Heminway & Sons' 
Japan and Turkish Floss for 
this decoration. 

In addition to the colors 
given with Carnation Color 
Plate No. 20, the following 
shades for white and yellow 
and red flaked blossoms will 
be found attractive. Combina- 
tions of the various colored 
flowers will be charming if 
judiciously arranged, but one 
must remember that while in 
Nature's landscape embroidery 
the most startling juxtaposi- 
tions are encountered, the wise 
needlewoman will limit her 
color scale to more subdued 
and recognized harmonies. 

For white blossoms the following may be employed No. 691, 340, 341, 342, or 
a645, 0645, 645 cream or yellow, 0682 and 682 green and 580 and 581 pink. 

It will be well to use the yellow tones in the shading, not relying upon green 
alone which makes the flower too cold in tone. 

Yellow flowers, flecked with red, are always decorative and require the fol- 
lowing shades: A645, 645, 646, 648, 649, 650, 651 652 with 10 and on for the 
irregular splashes. The 370 line of green with 228 and 230^2 brown will be 
required for the foliage. 

For Pink Carnations see reference table on page 92. 

For the scallop use Turkish Floss 691 white for the large divisions. Couch 
green 310^2 above this if desired. The small divisions may be carried out in 
green 310^ with feather stitching in color No. 2 pink or green on the lines above. 




2980A. 



Carnation Decoration* 



Descriptive of Color Plate No. 20. 

The Carnation, "the flower of Love," comes to us with many a classic asso- 
ciation, and though it has submitted to a changeful category of names, we may 
be sure, that like its fair sovereign the rose, it, too, by "any other name, would 
smell as sweet." Owing to its adaptable structure it was used by the ancients 
for garlands which crowned their heroes, and some authorities claim the popular 
name is a corruption of "coronation," while others as stoutly aver that the name 
results from its carnation coloring. The spicy fragrance for a time led to its 
being classed with the gilly-flower, and it was an important factor in mulled 
wines, while the ancient pharmasepceia listed it among cures for fever. 




M. HEMINWAY & SONS 
CARNATION Color Plate No. 20 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



67 



The variety of its coloring greatly adds to the popularity of the flower, and 
also makes it a most interesting study for the embroiderers. The most usual 
tones of deep pink and red are represented in the color plate, while various 
other colorings are suggested in connection with the carnation centre elsewhere 
mentioned. The petals farthest from one should present the deepest coloring, 
which gradually works lighter as petals come nearer the eye. Take for instance 
the largest flower on the color plate in illustration. The rear petals are worked 
in long and short Kensington, beginning at the highest with 6, 8 and 8 ! / 2 of M. 
Heminway & Sons' Japan Floss. Dashes of io l A are seen in the two lowest rear 
petals. Double strands of silk are always employed to cover the outline, while 
shading is worked in with single thread. Turnovers and fore-ground petals have 
an underlay of cotton. The palest petal shows 2 and 4. Nos. 6 and 8 are run in 
the slightly deeper ones flanking it. Turnovers are of No. 2. The next deeper 
flower utilizes the above shades with 013 and 015 additional. In the small dark 
flower the shades show a sparing use of 8 l / 2 and io l / 2 , 013, 015 and 019 complete 
the list. 

For foliage the colors are selected from the 730 line of green with touches 
of 230E and 227 brown. The lower parts of the long green calyx are padded, 
and are lightest at the upper points, 372 and 373 or 373 and 374 are used for these. 
Greens are deepest just between these points, 374 or 375 being required while the 
coloring works lighter where the calyx ends. 370 is used in the pale leaves 
together with above mentioned browns. The lay of the stitches is so simple in 
carnations that inspection of the color plate is adequate instruction. 





Fac Simile of Skein Tickets used on all Shades Made in 
M. Heminway & Sons Japan Floss. 






m M. HEMINWAY & SONS 
01 W JAPAN FLOSS. 

** y PERMANENT 

a ORIENTAL DYES. 


WASHING INSTRUCTIONS. 




Wash in warm water with Ivory soapsuds. 
Rinse in clean warm water ; absorb moisture 
quickly betweer cotton cloths. When the silk is dry 
press under a damp cioth. Do not rub soap on the 
silk or linen and DO NOT PRESS WHEN WET. 

Avoid boiling water and severe wringing. 




NOTICE* — Firm Name and entire ticket printed in red ink. 





68 



M 



HEMINWAY & SONS 



Nasturtium Decoration. 

See Color Plate 19. 

Design No. 2940N. Sizes : 12, 18, 22 inches. 

M. Heminway & Sons' Oriental Dyes, Japan and Turkish Floss. 
Shades for flowers and leaves. — See description table illustration, following 
page. 

Before starting to embroider this flower, it would be well to first put in a 
little filling of white embroidery or darning cotton, on the outer edge of all the 
petals, just enough to raise the edge above the centre, to give a "cup" effect 
to the flower. A chain stitch is a simple and easy method of filling the outer 
edge of petals. If darning cotton is used, take the cotton that can be split, 
using two strands. 

Work the flower solid, in the long and short stitch, using one strand of 
Japan Floss. 

If no filling is used, work with two strands of Japan Floss, on the outer edge 

of petal, shading with one 
strand. Some prefer this way 
to using the filling. 

For a Light Yellow Nas- 
turtium, start with Yellow, No. 
360, Japan Floss, on the outer 
edge of one or two petals, 
shading with No. 361 and 363. 
The lower petals make darker, 
using No. 363 for outer edge, 
shading with Nos. 364 and 365. 
The rays in flowers can be 
made of Orange, No. 654, or 
Red, 529. In heart of flower, 
use Brown, No. 549, in French 
knots. In this flower the calyx 
is Yellow, 650 and 367. 

To vary the Yellow flowers, 
use Red 526^ and 527 for 
outer edge, shading with Yel- 
low, 363, 364, 365 and 366. For 
rays, use Red, 527, in one flow- 
er, and 529 in another. In the 
calyx the Red, 527, and Yellow, 
650 and 652, are appropriate. 

In a Red Nasturtium, the 
shades 526 I /2, 527, 528 and 529, 
Japan Floss, are effective with Yellow, 650 and 365, for rays, making calyx of 
Red, 526^4 and 527, with Yellow, 653, at the tip. Another Red blossom can 
be made by using the Red shades, 526, 526^2, 527, 528 and 529, not only for 
the petals, but for the rays and calyx. 

The leaves are worked solidly in long and short stitch, using lightest 
shade of Green, No. 311 for the outer edge, shading darker until No. 312^2 
is in the lower centre part of leaf, veining with Light Green, No. 432, 311 or next 
shade lighter 310^. 




NASTURTIUM DESIGN, NO. 294ON. 







; 



wr 



M. HEMINVVAY & SONS 

NASTURTIUM Color Plate No. 19 

Reproduced from original models embroidered with 
Permanent Oriental Dyes. Japan Floss 



LESSONS IN EMBROIDERY 



69. 



In other leaves use No. 312 and 3125^ for outer edge of leaf having the 
lightest shade, 311 for centre, veining with 312^. 

Never use filling cotton for leaves, except for the turned-over ones. Those 
should be filled well to distinguish them from the leaf. Work the outer edge 
of leaf with two strands of Japan Floss, shading with one strand. The turned- 
over leaves use one strand of Japan Floss to cover the filling cotton. The 
lightest % shade of Green is generally used for leaves that turn over. 




Nasturtium Decora- 
tion. 

FLOWERS. 



Yellow. 



Red. 



JAPAN 

360. 

361. 

362. 

363. 

364- 

365. 

366. 

367. 

650. 

652. 

653. 

654- 

526H 

527- 

528. 

529- 

549. 



Shade No. 



LEAVES, STEMS AND 
TENDRILS. 



Green. 



3 

312. 
312^. 
3I2M- 
313- 



Shade letter 



SPRAY OF NASTURTIUM DESIGN. 



"HANDY" HOLDER FOR JAPAN FLOSS. 




A practical convenience for keeping skein silk in perfect order. 
When covered with linen— embroidered with pretty design it makes a hand- 
some gift. 

Sold by dealers at 5c. 



M. H E M I N W A Y & SONS 




2500/5 




2500/7 



These pillow designs tinted on tan ticking are sold by dealers in M. Hemin- 
way & Sons' silks. These models worked in Turkish Floss. 






LESSONS IN EMBROIDERY 71 

College Pillows and Designs* 

By Edgar P. Redfield 

College pillows grouped artistically about the "den" and cosy corner, or 
thrown here and there on the window-seat or in the boudoir, form a pleasing 
decoration and add a charm to the interior. In every well appointed country 
home or city appartment one sees the cosy corner literally filled with pillows of 
every description, while all through the house and out on the veranda they are 
much in evidence. In fact, as is often said, one cannot have too many pillows, 
for aside from the artistic effect produced, they have a certain charm of refine- 
ment and air of comfort and repose which seems to invite one to nestle among 
them and while away an hour or more, if it be "my lady" with her favorite 
magazine, or if a gentleman with his evening paper and after-dinner cigar. 

In selecting pillows it is an easy matter to go to the shops and purchase the 
finished article or choose a pattern stamped ready for embroidering with the 
materials to finish; the only thought being "Is the design striking or pretty? 
Do the colors blend artistically or is the pattern odd and attractive?" 

In selecting a college pillow, however, one must be more critical and first of 
all see that the colors are correct. Each college or school has its standard color, 
as the rich blue of Yale, the crimson of Harvard, the rose and gray of Vassar, 
the blue and red of "Pennsy," the yellow and white of Bryn Mawr, the orange 
and black of Princeton and so on. Correct colors therefore is the first essential 
in selecting the college pillow and must be strictly adhered to. These colors can 
be obtained in the various grades of satins, as well as in the better grades of art 
linens which are dyed especially for this purpose and woven in the proper pillow 
width. 

Next in order comes the design. Every university and college or school 
of prominence has its own particular emblem or seal, which is used in ornament- 
ing its stationery, invitations, programs, etc., and through the cunning of the 
jeweler's art is reproduced in rings, charms and pins of gold and silver. These 
designs used in so many ways and which become endeared to the hearts of the 
students and friends of the various centers of learning, lend themselves especi- 
ally to the decorative feature or motif of the college pillow. They carry with 
them a certain amount of dignity, are official, and appeal directly to the senti- 
ment of every one interested in the particular college or school they represent. 
Other effective designs are the simple block letters, forming the college name 
and running diagonally across the face of the pillow, and the large initial di- 
rectly in the center. These, while severely plain, are very striking. 

The irregular style of lettering, as shown in the illustration on the fol- 
lowing page, is a pleasing departure from the many styles of script and fancy 
lettering, and is particularly adapted to the formation of long names, as Penn- 
sylvania, and University of New York. The letters are graceful and can be 
arranged so as to fill in well, giving' the pillow a decidedly artistic appearance. 

A very pretty design, but which can be used only in connection with a name 
of four letters, is the large four leaf clover as illustrated, a letter being in each 
leaf. Many original designs are especially good. Often* a young lady of artistic 
temperament and skilled in embroidery has ideas of her own regarding the 
pattern she desires to embroider, and produces at once a design both striking 
and novel. As an example of this may be described an original conception in 
the way of a design brought out by a lady having friends in both Yale and 
Harvard and who was very much interested in the football games between the 



72 



M. HEMINWAY & SONS 




two universities. She took as her motif the two sculptured figures by J. Massey 
Rhind above the portico of Grant's Tomb on Riverside Drive, New York City. 
These figures flank a panel on which are enscribed the words "Let us have 
peace." One figure she embroidered in Yale blue, the other in the Harvard 
crimson, each holding a football and wearing the regulation uniform so familiar 
to everyone attending the annual games. The words "Let us have peace" were 
embroidered on the panel between them. The design as adapted to a pillow was 
decidedly good and very effective. 

In embroidering the college pillow be careful to select the right shade of 
silk, where a color is to be used, always bearing in mind that in embroidering 
they work up a little lighter. Letters should be worked solid to produce a 
good effect, while emblematic devices and figures can be embroidered in out- 
line or couched if preferred. Where there is a combination of two colors 
representing the college standard, as in the case of Princeton orange and black, 
Pennsylvania red and blue, or Vassar rose and gray, it is optional which way 
they are embroidered. Take Pennsylvania for example, the ground work or 
fabric of the pillow can be of blue with the seal or lettering embroidered in red, 
or vice versa. The front of the pillow also can be of one color and the back 
of the other. 

Where there is only one color represented, as in Yale, Harvard and 
Columbia, the pillow itself should represent that color while the embroidery 
should be in white. THere are a few exceptions to this rule, notably Harvard 
which is often embroidered in black. One sees occasionally the white 
satin pillow with the seal or lettering brought out in the college color which, 
though very pretty to look at, is so easily soiled as to be of no practical value. 
In embroidering, the work can be done more evenly and better by using any 



LESSONS IN EMBROIDERY 



73 



one of the many styles of embroidery hoops or frames to be had in the shops. 
After the work is finished, the pillow should be dampened and pressed on the 
back, having the front or face on soft material such as a flannel blanket and is 
then ready for finishing, either with cord and tassel or ruffle. Ruffles are strik- 
ingly handsome, especially on satin pillows, but the cord and tassel is more in 
vogue and makes a very neat finish. The usual position for the tassels is the 
upper right hand corner of the pillow. 

For the filling, where one does not consider the expense, a pure down is 
undoubtedly the best, but cheaper filling such as silk floss is very satisfactory. 
Never use cotton, as it is hard, coarse, lumpy and very undesirable. A very 
pretty finished pillow lately brought out is made of a fine quality of felt with 
the seal or letters cut out and appliqued on with Turkish Floss, while the finer 
work, devices, figures, etc., are reproduced in India or colored inks. These 
pillows are finished with cord or by the use of a simple narrow ribbon, the front 
and back are held together, making a very neat finish. 

Sometime ago, a gentlemen, himself a college graduate, conceived the idea 
or fad as one may call it of having a college room in his beautiful Colorado 
home. The writer had the pleasure of assisting him in the selection and making 
up of the pillows. A number of designs were submitted to him including college 
seals together with the costs of arms of West Point and Annapolis, and several 
special designs from which he selected in all some twenty-five or thirty. These 
were all embroidered entirely by hand on satin and art linens and finished with 
elegant double ruffles and silk cords and tassels, the whole forming a very at- 
tractive and artistic ensemble and delighting the eye of anyone fortunate enough 
to have the entree to his palatial home. 

A list of some of the prominent universities and colleges, giving their colors, 
will be found on pages 96 and 97. 

Information as to source of supply for pillow tops and backs in correct 
colors for any college will be furnished gratis by the publishers of this book. 

Wallachian Embroidery* 

When a form of embroidery is developed from already familiar, as 
Well as simple stitchery, it paves its way clearly to popularity and success. 

Wallachian embroidery is a ready adap- 
tation of an old and well known stitch, 
thus producing an entirely novel effect. 
Although the button hole stitch is the 
basis of this new work, the decorative 
effects produced by its characteristic 
designs, often suggests the more elabo- 
rate stitches of Chinese embroidery. 

It is from the peasant workers" that 
we generally obtain our needlework 
suggestions and women of Wallachia 
are the ones who have individualized 
this form of buttonholing. A center- 
piece in Wallachian, pictured as a fron- 
tispiece, is an excellent example of this 
form of embroidery, showing both the 
simplicity of workmanship, and quaint- 
ness of design, together with a charming 
scheme of harmonious coloring. Details 




FIG. 



fig. 2. 



DETAIL OF WALLACHIAN EMBROIDERY. 



74 



M. HEMINWAY & SONS 



of the work shown at Figs. I and 2 prove the method of procedure to be plain 
buttonhole. The units of all Wallachian designs are variations of two forms, each 

with a predetermined 
principle regulating 
its method of working. 
The two basic forms are 
either variations of 
floral and scroll mo- 
tives, or of disc shapes. 
In the first series there 
is invariably a central 
rib, and all the button- 
hole stitches point to- 
ward and end at this 
line. In the units based 
on circular forms, the 
stitches all point to and 
end at the centre like 
wheel spokes. As the 
many strands all end- 
ing in the one place 
make a small hole, a 
good effect is produced 
by first running this 
centre dot around and 
having opened the space 
with a stiletto, allow 
the button hole stitches 
to finish through the 
hole, thus making an 
eyelet. Chain, cable or 
outline stitch are suit- 
able for stems or single 
lines. 

The buttonholing may be either raised or flat, depending upon the silk em- 
ployed. The model for the frontispiece executed in Turkish Floss manu- 
factured by M. Heminway & Sons shows the raised buttonhole, that is to say, 
that which is slightly padded on the cord edge of the stitch. This raising may 
be done with loose darning cotton and the edge either run or followed with 
a chain stitch. The soft greens which appear in the illustration, are shade 
numbers 239, 241, 241 1 / 2 and 242 of Turkish Floss, while 691 white is also re- 
quired to give the high lights in the shading. A simple and dainty scallop is 
worked in shade number 239 which gives an appropriate and unobtrusive finish. 
Of the three discs above the large lobe of this scallop, the central one is 
worked in the same shade as the scallop, while those to right and left are 
carried out in No. 241. The upright leaf spray is toned from No. 691 white 
at top to 242 green at the base, while the flower form with the leaves and 
stem shows the gradations produced by all four shades of green first men- 
tioned. 

Manifold color schemes may be evolved from the vast numbers of shades 
available in the Turkish Floss. Delft colorings in shade numbers 290, 291, 
292 and 293 are cool and charming with blue and white china. Decorative 




no. 01970-5 

collar and cuffs in wallachian embroidery. see fig. i. 

Collar, neck measure, 24 inches, 4^2 inches; cuffs, 2>Y\ 
inches zvide. 



LESSONS IN EMBROIDERY 



75 



tones of yellow are found in numbers 408^, 409, 410 and 411, while the old 
gold gleams of No. 599, 601 and 603 are particularly beautiful when combined 
with an ecru or natural linen background. This design is attractive when 
worked entirely in white. 

The twisted Silk of M. Heminway & Sons is also effectively employed 
for Wallachian embroidery, either in colors or in white, and at Fig. 3 is pic- 
tured a detail of design 
2960/2 elaborated with fancy 
stitches and worked in Mount 
Mellick white size G. A row 
of Gordian knot stitches ap- 
pears above the buttonholing 
of the scallop edge, while the 
other portions of the design, 
excepting the stems, are 
edged with French knots, 
placed at intervals of a quar- 
ter inch or less. This same 
treatment in colors is very 
pleasing should one prefer it 
to the severer forms of an 
unornamented outline. A de- 
tail of Gordian knot stitch is 
given m the first part of this 
manual and will be found a 
very useful stitch, both effec- 
tive and speedily executed. 

The above designs, as well 
as numerous other patterns 
are obtainable in a doylie 
size of 12 inches, also in cen- 
terpieces measuring 18, 22 
and 27 inches. An entire 
luncheon set would not be an 
arduous undertaking in Wallachian work as it progresses rapidly, and the fin- 
ished pieces are substantial both in fact and appearance, more than repaying 

by their durability the time 
given to the working. 

Wallachian embroidery 
adapts itself admirably to many 
other articles beside those for 
table decoration. For all sorts 
of accessories, as well as for 
dresses it bids fair to rival the 
popularity of eyelet work, as it 
is applicable to all sorts of 
fabrics. For linen or pongee 
gowns it is most desirable 
both in colors and white, and 
waist and skirt may both be 
embroidered, or a simple 
model may be selected and 











|p ill " ; 2|SI 


" 0i 


■ ■ 





FIG. 3. NO. 2960/2. 




76 



M . HEMINWAY & SONS 





NO. 229/2. 



NO. 207D. 



trimmed with the very pretty revers and cuffs which are here illustrated. With 
stylish stock and belt of Wallachian, a gown of linen will be given decided 
cache. A Wallachian Chatelaine of linen can be had to match the belt, and this 
while adding much to the costume in daintiness will also bring its equivalent 

in usefulness. Lingerie hats 

^. .0 are now a recognized necessity 

^ 7 ""' N in the summer wardrobe, and 

^'■-. ' ■ \ w iM De ma de in Wallachian to 

--..._ complete embroidered cos- 








NO. 2976/3. 

tumes, or worn independently with any tub 
frock. For the little folks, caps and bibs are 
to be slightly ornamented with this newest 
embroidery, and the use of Turkish Floss is 
recommended for these in order that the results be firm and yet dainty in ap- 
pearance. 



BABY CAP. NO. 21^/2. 



5 

C/J 



II 



T" 1 "> 

■g 3 

3 2 

►rj E." 






w 

g 

> 




EMBROIDERED NOVELTIES 




292 1 c 



Basket of Cherries. 

Design No. 2921c. 
Color Plate No. 2 
Centerpiece — Size, 22 inch 
M. Heminway & Sons' "Ori- 
ental Dyes." 

Japan Floss. — Green — 512. 
513, 513^2, 514, 515. Brown— 
229, 230, 230^, 230^4, 230E. 
Pink— 4, 6, 8, Sy 2 , 10, ioY 2 , 
on, 013, 015 017. Yellow— 
647. 

Turkish Floss. — White — 691 
for buttonhole scallop. 

The basket of cherries il- 
lustrated at Color Plate No. 
2 is a detail from center- 
piece design 2921c, and in it 
the fruit is delightfully ren- 
dered as well as the basket 
which likewise exemplifies an 
excellent method of pro- 
cedure. In the latter the rim 
and handle are first cotton filled and then worked solid in tan shade 229 of M. 
Heminway & Sons' Japan Floss. Over this is a strapping of brown 230E, which 
gives the twisted effect of the real basket. Graduated cat-stitch in alternating 
rows of 229 and 230 fills in the spaces between the basket ribs. Each time the 
stitches cross in the cat-stitch, they are couched lengthwise with a short stitch 
of the same color. For the basket ribs use two rows of outline stitch, one of 
light and one of dark brown, and 230^2 may be added to the above mentioned in 
giving proper shading. 

The cherries may or may not be filled — though raised cherries are more attrac- 
tive. Kensington stitch is used, the stitches running from top to stem. The light- 
est ones, notably the one at top and directly under the handle, and the lightest 
ones hanging over the rim, are worked with pink 4, 6 and 8. That a touch of 
yellow may be sparingly introduced, is illustrated by the top cherry directly 
under the handle, which shows a few stitches of 647. Shades 8V2. 10, 10^2 and 
on appear in the slightly riper fruit, for which 013, 015 and 017 are used in 
varying quantities, and the deeper shades of dead ripe fruit are to be depicted 
through on, 013 and 017. Skilful arrangement of color is largely a matter of 
judgment and memory, and the manifold tints of nature make it hard to go far 
astray. The main point is to keep the fruit properly modelled, that is, to study 
the light and shade, and blending of tint, that the cherries will appear round 
and without abrupt contrasts — they must never look spotted. Leaves are worked 
in Kensington; the stitches close laid, pointing from margin to midrib, are also 
worked with a single strand of Japan Floss. The lightest leaf, which falls over 
the basket rim, shows a tip and light section at the left of the midrib, executed 
in pale green 512 and 513 is worked into this while the veining is carried out 
in 514. A darker leaf is tipped with 513^2, shaded into 514 and 515, and touches 
of brown 230^ appear in the veining. Along the midrib and margin are a few 
stitches of 230 and 230^. 



78 



M 



HEMINWAY & SONS 




Infant's Embroidered Kimono* 

DESIGN NO. 24OOE. 

This dainty adjunct to baby's wardrobe is stamped in one piece on French 
Finette, a superior quality of cream colored material resembling fine cashmere,* 
by experience found to be the most appropriate for infant's wear. It can be 
had in two lengths and sizes, large and small, and stamped in the following 
designs: daisies, wild roses, forget-me-nots, and eyelet, or just a plain scalloped 
edge without any flowers. It is very effective, embroidered in white or colors, 
with Heminway Japan or Spanish Floss, and Turkish Floss for the scallops. 




Infant's Embroidered Kimono. 

DESIGN NO. 3000/2. 

This style Kimono (small size only,) stamped on French Finette, can be 
obtained in another design (3000/1) which differs only in the collar. A spray 
of small white daisies is placed where the dots with featherstitch lines appear. 

Dealers' prices : small size, 60c. ; large size, 75c. 



EMBROIDERED NOVELTIES 



79 




Tobacco Pooch. 

An appropriate gift of simple construction for 

the smoker. The foundation is gray homespun 
linen stamped in three different designs. Neatly 
stitch the sides. The bag to be lined with oil 
silk or colored cambric. The twisted cord is 
made of shades of brown and red Rope Silk, 
that blend with the shades of Brown Turkish 
Floss used in pipes. For the pipes use Japan Floss 
548-623 dark brown, with a little of 622 light 
brown in the middle of bowl to give high light. 

Use Old Gold No. 0409 for the mouth piece and 
rim of the bowl. 



NO. 203/c. 
American Beauty Rose. 

Design No. 2860 d. r. 

Dealers in M. Heminway & 
Sons' Wash Silks can supply 
many handsome showpiece de- 
signs stamped on white linen, suit- 
able for embroidering in Japan 
Floss and framing. 

Flower and fruit subjects in 
vases, boxes and baskets. 




2860DR. 



8o 



M. H E M I N W A Y & SONS 




Collar and Cuffs 
on Dimity. 

Width, 2 inches. 
Length Collar, 12^2 
inches. 

Length Cuffs, 7 l A 
inches. 

This illustration is a 
simple suggestion in 
Cross-stitch work, ex- 
ecuted on checked dim- 
ity. The little square 
checks in the dimity 
material insure a safe 
guide for making the stitches even. Ornament with French knots, work both 
stitches with Turkish Floss. For outside row of Cross-stitches use Light Blue 
No. 564^, for the middle row use No. 565 lighter Blue, and for the inside row 
use Maize Yellow No. 409H2. 

The French knots (see page 21) are made in Black alternated with No. 
409 Old Gold color and placed in the spaces between the Cross-stitches. 

This set is very attractive worked as described and is equally pretty, though 
more modest, executed in Black and White Turkish Floss. 



Scrim Work Bag. 

The illustration shows so clearly the style 
of construction, that little more can be said : 
No design is stamped on the material. The 
model is made,, of ordinary scrim — cut size 
n^x 17 — folded over from bottom and 
seamed at sides, lined at top above the ribbons 
with colored china silk. The feather stitch- 
ing is done with Oriental Dyes Rope Silk, two 
shades — old blue No. 293 — Maize 0409. 

The silk stitching is done after drawing 
two or three threads of scrim, then skipping 
five or six threads, again drawing two for the 
next row of silk stitches. 







F*aSg** 



SCRIM WORK BAG. 



EMBROIDERED NOVELTIES 



Si 



Round Pincushion* 




A variety of designs can be obtained 
in size to fit a round 6-inch form cushion. 

The top and bottom pieces are made 
large enough to permit of ribbon lacing, 
so they can be easily detached and 
cleaned. 



ROUND PIN CUSHION, NO. 230/I. 



Hat Pin Case. 



Stamped in simple 
graceful sprays on 
white linen. 

Fold the material 
twice and insert a 
piece of eiderdown in 
which the pins are 
inserted. 

Secure with rib- 
bon, in a color that 
will harmonize with 
the silk embroidery. 




HOLLY, NO. 233/1, 



II '%k 



V. 




'% 







4% 






) 



GRASS, NO. 233/4. 



82 



M. HEMINWAY & SONS 



Babies' Booties. 



These practical little foot warmers are 
of very simple construction, stamped in 
three designs : 

Forget-Me-Not, 
Daisies, 
Wild Roses, 
on fleeced pique. 

The pattern for cutting is plainly 
stamped on the material. Bind with nar- 
row ribbon, which also use for securing 
the uppers to the sole. 




babies' booties, no. 236/1. 




BOOTIES. NO. 632. 



Infants Booties stamped on heavy 
cricketers flannel in five parts, stitch the 
parts together with sewing cotton, match- 
ing the lines as stamped and ornament 
the seams with pink, light blue or cream 
twisted Embroidery Silk, feathered stitch- 
ed. The top and flap to be button-holed. 
Finish with baby ribbon same color as 
the silk. 



Infant's Bib. 

Infants bib stamped on fine linen. The ac- 
companying design — forget-me-not — embroid- 
ered in solid Kensington stitch with Japan 
Floss. Blues— 564^, 564, 563 r /l Leaves, 
437. 438> 439- Scollop buttonholed with white 
No. 691 Turkish Floss. Featherstitched at 
neck opening with white Spanish Floss. 

Dainty lace for trimming. 

This style bib, and larger size — similar 
style on Pique — can be obtained in two 
simple eyelet designs suitable for Spanish 
Floss work. 




infant's bib no. 218/2. 



EMBROIDERED NOVELTIES 



83 



Glove and Handkerchief Cases. 




GLOVE CASE. NO. 231/2. 




The two cases shown for gloves 
and handkerchiefs are made up in 
exactly the same way — by folding 
over once and lining with silk in 
color that will harmonize with the 
colors used in the silk embroidery. 
Pad with cotton containing a very 
little dainty perfumed powder. 

Can be obtained in a variety of 
designs with scallop edge all 
around. 



HANDKERCHIEF CASE. NO. 232/4. 



Tea Pot Holder. 

A variety of designs stamped 
on white linen size about seven 
inches wide. To be lined with 
felt or flannel and trimmed with 
ribbon bow. 




no. 658. 



84 



M 



HEMINWAY & SONS 



Jewel Bags. 

With Chamois Pockets. » 

Size about 4M2 inches wide. 

This useful novelty can be obtained in a variety of flower designs stamped 
on white linen. A complete neatly stitched chamois bag furnished with the 
stamped linens. 




Powder Sachet* 

Furnished stamped on white linen in 
a variety of designs, size 4V2 inches 
wide without the lace. 

A silk sachet perfumed bag furnished 
with the stamped linens. 



no. 235/1. 



N. B. — Other "Heminway" novelties that can be supplied by dealers, 
stamped and finished, are : Comb and Brush Cases, Hair Receivers, White 
and Tan Belts, Caps on French Finette and on Linen; Hair Pin Cases, Needle 
Books and Tea Cozys. 



EMBROIDERED NOVELTIES 



85 




Shaving Paper Pad. 

Diameter — 9 inches. 

Stamped on heavy tan material 
and furnished with tissue papers 
attached with eyelets to heavy 
cardboard. 

This novelty can be obtained in 
several designs entitled : 
"A Little Shaver," 
"A Daisy Shave," 
"Getting Out of a Bad Scrape," 
"A Daily Reminder." 

Turkish Floss is the proper 
silk to use, button hole edge and 
finish with ribbon hanger select- 
ing a color that will not clash 
with colors used in the em- 
broidery. 



no. 774J. 



Sample Card of Colored Floss* 




Ladies will find it a convenience 
to have one of the elaborate color 
cards of Japan Floss showing 400 
shades of the silk itself and contain- 
ing samples of each kind of silk 
mentioned in the embroidery section 
of this book. 

This card can be obtained of deal- 
ers. Price ioc. (which is less than 
actual cost), or will be mailed by 
the manufacturers of Japan Floss 
for 12c. 

M. Heminway & Sons' Silk Co., 
YVatertown, Conn. 



86 



M. HEMINWAY 



SONS 



Illustrated Directions 

FOR MAKING 

FOUR-IN-HAND SCARF TIES 

ADAPTED TO THE USE OF 

M. HEMINWAY & SONS' PURE DYE 

CROCHET SILK. 

For smoothness of thread, uniformity of size 
and high lustre, this silk has no equal. 
Purchasers will notice firm name, "M. Heminway & Sons," on every spool 
also red printed label. Every spool guaranteed full weight half ounce. 

The Oriental dyes used in the process of dyeing this silk, are the same as 
used in the celebrated wash silks for embroidery, bearing same name. 
Mills established more than half a century at Watertown, Conn. 




Atrto Scarf* 

BASKET STITCH DESIGN 



Abbreviations : k., knit ; p., purl. 

Knitted with M. Heminway & Sons' Crochet Silk, in any color desired, 
and a pair of No. 13 knitting needles, which may be either steel or bone. This 
scarf measures about 10 inches wide, and nearly 2 yards long, and will need 
six or eight balls of silk. 

The Basket Stitch Pattern is worked upon any number of stitches, divisible 
by ten, with five over for the margin ; therefore 95 stitches, or 105 stitches, 
may be cast on for the width of the scarf. Purl a row upon the cast-on stitches. 

First Pattern Row. — P. 6, * k. 3, p. 7; repeat from *, and at the end k. 3 
and p. 6. 

Second Row. — K. 6, * p. 3, k. 7; repeat from *, and at the end p. 3 and p. 6. 

Third Row — As the first row. 

Fourth Row. — Purl all. 



Fifth Row.—K. 4, * p. 7, k. 3 
stitch. 



Sixth Row. 
last stitch. 



repeat from * ; at the end knit the one last 
P. 4, * k. 7, p. 3; repeat from *, and end by purling the one 



Seventh Row. — As fifth row. 

Eighth Row. — Purl all. 

Repeat these eight rows for the required length of the scarf, and cast off 
loosely. 

The ends of the scarf are to be finished with a knotted fringe. 



KNITTING INSTRUCTIONS 



87 



Crochet Silk Colors 

A great variety of shades are made in M. Heminway & Son's Crochet Silk. 
All shades of Blue from the palest Baby Blue to dark Navy Blue, Gendarme, 
Alice Blue, Scarlet, Cardinal, Garnet, Wine, Plum, Heliotrope, Lavender, Corn, 
Gold, Orange, Rose, Pink, Shrimp, Castor, Pongee, Gray, Slate, Browns, Olive, 
Reseda, Myrtle and Nile Green. Old Gold, Black, White and Cream. 

All spools guaranteed to contain full weight half ounce. 

Scarf Tie Knitted in Brioche 
Stitch* 

Materials Required. — Three 
spools of M. Heminway & Sons' 
Pure Dye Crochet Silk. One pair 
No. 22 Steel Knitting Needles. 

Cast on 34 stitches, working as 
tightly as possible. 

First Row. — Thread over needle 

and slip one as though to purl, 

knit one, and repeat to end of row. 

Second Rozc. — Thread over needle and slip 

one as though to purl, knit together the next 

stitch and the thread which lies over it, and 

repeat to end. 

Repeat the 2nd row until the work is 20 
inches long. 

Next Row. — Knit one, knit two together 
(the thread and the stitch) and repeat to end. 

Second Neck Row. — Knit two, then knit 
two stitches together throughout the re- 
mainder of the row. Eighteen stitches will 
remain on the needle. 

Knit one and purl one on these 18 stitches 
for a length of 16 inches, then widen for the 
second end of the tie, as follows : 

Knit two, then knit two in each stitch 
throughout the remainder of the row. Next 
row work as with 1st row of tie, then proceed 
as with 2nd row until this end is 13 inches 
long. Bind off. 




M 



HEMINWAY & SONS 



Crochet " Four-in-Hand " Necktie. 

Materials. — Three spools of M. Hemin- 
way & Sons' Pure Dye Crochet Silk No. 
i or 2 Crochet Hook. 

Directions for Making— (As Illustrated.) 
CHAIN 21. 

First Row. — Skip 2 chains and in the 3rd 
make 3 double crochets. Chain 1, again a 
double crochet in same chain. Repeat from 
*. When finished the row will contain 7 
shells. 

Second Row. — Turn, chain 3, * 3 double 
crochet over chain of one in first shell be- 
low, chain 1, 1 double crochet in same 
space. Repeat from * in each shell of 1st 
row. Repeat the 2nd row until the work 
is 14 inches long. 

Next Two Rows. — Narrow 1 shell at each 
end of each row, when 3 shells will re- 
main. In this width continue until the 
strip 3 shells wide is nineteen inches long. 



Knitted u Four-in-Hand " Necktie. 

Not illustrated. 

Materials — Four Spools M. Heminway 
& Sons' Pure Dye Crochet Silk Four Steel 
Needles No. 17 or 18. 

Cast on 56 stitches, 20 on one needle and 
18 on two. Knit round and round for 7 
inches. For the next round decrease 1 
stitch at the beginning of the first needle 
and that of the third needle, and continue 
to decrease thus in every alternate round 
until there are only 28 stitches left. (Keep 
the second needle for the front of the tie.) 

With 28 stitches on the needle, knit 14 
inches, increase in the same order as de- 
creasing is done, until there are 56 stitches 
on the needle. 

Knit 14 in. and sew up the ends. 




£jR_q_C HET INSTRUCTIONS 




8g 



Crocheted Suspenders* 

AS ILLUSTRATED. 

Materials — Four spools Heminwav & 
Sons pure dye Crochet Silk; chain 28 
stitches, turn, and 3 d. c. in 4th stitch 
of chain, counting from the hook; 4 
d. c. in 8th stitch of chain, 4 d. c. in 
12th stitch of chain, and continue mak- 
ing 7 shells; second row, turn, chain 3 
and 3 d. c. between first and second 
stitches of the last shell made; then 4 
d c. between first two stitches of next 
shell, and continue to end of row. Each 
succeeding row make like second row; 
make each suspender twenty-seven 
inches long and narrow down to one 
shell for the point. 

. The work should be done tight, or 
it will be necessary to line the sus- 
pender with ribbon. 



Crocheted Suspenders* 

STYLE B— COLORS GARNET AND BLACK. 

Materials— M. Heminway & Sons 
pure dye Crochet Silk. 

Make a chain of 150 stitches, garnet 
color, turn, 1st row, with the same color 
as the chain, miss 1 stitch, * 1 d. c. in 
the next, 1 chain; repeat from * to end 
of row; turn; 2d row, 1 chain, * 1 d. c. 
under the 1 chain of previous row, 1 
chain; repeat from * to end of row; 
turn; 3d row, join on the black, and 
work 2 rows like the 2d. Continue re- 
peating this 2d row until there are 2? 
rows in all, 2 rows of each color. The 
edge rows must be alike in color when 
finished, the lengths of silk left at the 
end of the rows must be neatly run in 
and kid brace ends— that can' be pur- 
chased ready made— are to be stitched 
on firmly with the silk. 

See page 86 for list of shades that 
can be obtained in M. Heminway & 
Sons Crochet Silk 



90 



M. HEMINWAY & SONS 



Bedroom Slippers* 

Quantity required, three spools of Heminway's Crochet Silk. 




Cast on 19 or 21 stitches, according to size of slipper you wish to make. 
For a No. 4 slipper cast on 19 stitches and crochet 1 row plain. 

Second row — crochet one bead with every stitch and add one in the centre 
of every row ; third row — crochet plain, but still add a stitch in centre of row ; 
fourth row is worked in the same way as second row. Continue to put in 
beads until you have about six or seven rows of them, then keep on crocheting 
with silk for about thirty-eight rows, which will make the front of slipper 
fifty rows in all, forming twenty-five ribs. 

For the sides crochet 27 stitches, for sixty-eight rows, forming thirty-four 
ribs on each side of slipper and join them in the back. As a trimming for the 
top, crochet the following edging: First row — 2 double stitches, one chain, 1 
double stitch, 1 chain, and repeat. Second row — 1 double stitch between the 
first 2 double stitches of first row ; then 2 double stitches, 1 chain, 2 double 
stitches ; in the next 1 double stitch and repeat. Third row — 1 single stitch, 
4 double, with 3 chains between each, and repeat. Then crochet the same lace 
again, let it fall downward and run a ribbon through the centre. 

Crocheted Sailor's Knot Tie. 

The materials required are two spools of M. Heminway & Sons crochet 
silk, one crochet needle, No. 3. Make a chain of 21, turn, and into 2d from 
needle work 1 single work 1 single into each of next two, and one treble into 
each of next three; end with 3 single. Turn with 3 chain, and into 1st stitch 
work 1 T, 1 T into next, and 3 single into next three stitches. This brings the 
trebles over the singles of last row and the singles over the trebles; repeat 
these rows until there are 12 inches worked. Then to decrease for the neck 
work in the row that begins with 3 treble, 3 chain to turn, miss 1 and work 
1 T; work as usual to end of row, miss 1 stitch also at end. Decrease thus 
until there are 9 stitches left; work on these 9 for neck 15 inches (when the 
work is stretched), and increase again for the other end by working 4 treble 
in the first group of trebles, instead of 3, and increase at end of row also, 
then in the next row beginning with 4 treble, work 5 treble, and increase at 
the end. Then work 3 treble and 3 single in the next increasing row, and 
increase at end. Repeat the increasings until there are again 21 stitches. Work 
for 13 inches and finish off. — "Pictorial Review." 



COLOR GUIDE 



QT 



REFERENCE TABLE 



THE following reference table of shades in M. Heminway & Sons' 
"Oriental Dyes" Art Needlework Silks, has been prepared with 
care as a guide to embroiderers. The limited space will permit of only 
brief suggestions. 

There is a difference of opinion regarding some flowers, but the 
following colors were selected with care and can be depended on as correct. 



Flower 



Color 



Shades 



Buds 



Centres 



Foliage 



Acorn 


Brown 


301,302,303 






370 to 374 


Anemone 


White 


689,691 




649 


428 to 430 




Pink 


541 to 543 




361 


371 to 374 


Apple Blossom 


Pink 


581 to 586 


584, 585 


647 


572 to 574 


Arbutus 


Pink 


581 to 583 


583, 585 


646 


572 to 574 


Aster 


Violet 


350 to 354 


432 


409 


432 to 435 




Purple 


557 to 561 


371,372 


409 


370 to 374 




Yellow 


361 to 368 


310* 


409-410 


310 to 313 




White 


691 


310 


683-684 


436 to 439* 




Pink 


3 to 7 


429, 430 




428 to 431 


Autumn Leaves 


Terra Cotta 








413 to 416 


( Use natural leaves 


Olive Browns 






599 to 603 


for models). 


Golden " 
Old Wood 
Tan Browns 
Tea Greens 
Orange 
Dull Greens 








0409 to 412 
526 to 530 
390 to 394 
437 to 439* 
653 to 654J 
678* to 681 


Azalea 


White 


691 


395 


364 


371 to 374 




Dark Pink 


581 to 585 


584, 585 


647 


310* to 313 




Clover Pink 


540 to 544 • 


543, 544 


384 


428 to 431 




Red 


0655 to 658 


658 


662 


436 to 439* 


Bachelor Button 


Blue 


290 to 294 


432, 433 


432 


432 to 435 


or 


*' 


260 to 263 


429,430 


429 


428 to 431 


Begonia 


White 


691 & 370 


371 


648 


0428 to 431 




Pink 


404 to 406 


406 


647 


371 to 374 




Yollow 


646 to 649 


395 


371 


432 to 435 


Bleeding Heart 


Pink 


0582 to 583 


428, 429 




428 to 43b 



Q2 


M. HEMINWAY & SON 


s 




Flower 


Color 


Shades 


Buds 


Centres 


Foliage 


Iiiueoell 


Blue 


260 to 263 


373 




371 to 374 


Buttercup 


Yellow 


646 to 649 


432 


0432 


432 to 434 


Cactus 


Red 


Oil to 015 






371 to 375 




Yellow 


649 to 653 






370 to 375 


California Pepper Berry Red 


038 to 642 






310 to 313 


Camellia 


Pink 


580 to 585 






428 to 431 




Red 


657 to 661 






432 to 434 




White 


689-691 






436 to 439* 


Canna 


Yellow 


647 to 654 




651 


437 to 439* 




Red 


Oil to 017 




367 


428 to 431 


Carnation 


Pink 


1655 to 1661 J 


311,312,1657 




310 to 313 




Red 


011 to 017 


372,373, 13 




371 to 374 




White 


682 to 691 


428,429 




428 to 431 




Old Pink 


581 to 585 


571,572,0582 




570 to 573 




Shadow on 












White 


0682 to 683, 691 






311 to 313 


Cattails 


Brown 


302-303 






683 to 686* 


Chrysanthemum 


Yellow 


360 to 368 


361,363,429 




042S to 430 




White 


682-691 


682, 438 




436 to 439* 




Lavender 


1475 to 1479 


1477, 1479,429 




428 to 431 




Pink 


0655 to 658 


655,657,433 




0432 to 434 




Dull Rose 


404 to 406 


0405, 406, 373 




370 to 374 


Cherry 


Red 


8 to 19 


691,682 




310* to 313 


Clematis 


Purple 


350 to 355 




432-433 


0428 to 431 




White 


691 & 371 




778-780 


370 to 374 




Dull Purple 


269 to 273 






432 to 435 


Clover 


Pink 
White and 


510 to 544 




429 


0432 to 434 




Nile 


691-0682, 682 






0428 to 431 


Columbine 


Dull Lilac 


270 to 273 


272 


310 


311 to 313 




Pink 


584 to 586 


585 


371 


371 to 374 




Yellow 


362 to 367 


364 


428 


428 to 431 


Cone (Pine) 


Brown 
Brown 


301 to 304 
392| to 394 








Corn Flower 


Blue 


260 to 263 


372, 373 


236 


371 to 374 


Coreopsis 


Yellow 


646 to 649 




300-302 


371 to 374 


Cosmos 


Purple 


1477 to 1481 


311,312,1479 


648-662 


310* to 312* 




Pink 


541 to 543 


372,373,542 


647-662 


371 to 374 




White 


691-395-396 


395,827,828 


648-235 


826 to 829 


Coxcomb 


Red 


657 to 661 






432 to 435 


Crocus 


Blue 


565 to 563 




307 


371 to 374 




Purple 


1477 to 1487 




649 


428 to 431 




Yellow 


647 to 650 




648 


432 to 434 


Cyclamen 


White 


689-436 


436, 689, 438 




437 to 439* 




Pink 


383 to 387 


384, 438 




437 to 439£ 


Cypress 


Pink 


0655 to 658 






371 to 374 


Daffodil 


Yellow 


645 to 650 


648, 649 


648-312 


310 to 313 


Daisy 


White 


691-436 


312 


365 


311 to 313 




Yellow 


646 to 649 


372 


648 


371 to 373 




Ox Eye 


647 to 650 


828 


547-549 


826 to 829 


Dandelion 


Yellow 


647 to 649 


372 


365 


371 to 374 


Dogwood 


White 


691 0682-1655 




428 


0428 to 430 


Fern 


Maidenhair 


0428 to 431 




atenis 236 



COLOR GUIDE 



93 



Flower 


Color 


Shades 


Buds 


Centres 


Foliage 


Fleur-de-lis or Iris 


Purple 


1475 to 1485 


428, 429 




0428 to 431 




Violet 


461 to 464 


372, 373 




371 to 374 




Yellow 


0645 to 647 


433 434 




432 to 435 


Fleur-de-lis 


Purple 


460 to 464 


481 


648 


395 to 399 




Purple 


350 to 355 


482 




429 to 431* 


Forget-me-not 


Blue 


565* to 564 * 


582 


647 


436 to 439 


Fuchsia 


Red 


8 to 15-691 


11, 13,428 




0428 to 431 




Pink 


1657 to 1661* 


1659, 438. 439 




436 to 439 




Purple 


1479 to 1489 


1481,434,435 




432 to 435 


Geranium 


Pink 


0582 to 585 


583, 684 


684 


683 to 686 




Red 


658 to 660 


659,312 


312 


310 to 313 




White 


689-436 


429, 430 


429 


428 to 431 


Gladiolus 


White 


689-0682 




647 


436 to 439 * 




Crimson 


584 to 587 




649 


436 to 439* 




Red 


2 to 15 




648 


0428 to 431 




Pink 


581 to 585 




647 


0428 to 431 




Yellow 


0645 to 649 




648 


432 to 435 




Purple 


1477 to 1485 




647 


370 to 374 


Golden Rod 


Yellow 


0645 to 650 






0432 to 435 


Grape 


Ripe 


590 to 593 










Unripe 


0682 to 684 






0428 to 431 


Hawthorn 


White 


691-0682 






436 to 439 


Heliotrope 


Dull Purple 


270 to 273 


273 


647 


0428 to 430 




Lilac 


590 to 593 


593 


648 


0428 to 430 




White 


689 


689 


647 


436 to 439 


Hibiscus 


Old Rose 


404 to 408 






482 to 485 




Dull Pink 


330 to 335 






371 to 374 


Holly 


Red 


013 to 017-690 






826 to 829 


Hollyhock 


Nile 


0682 to 683 






684 to 687 




White 


689-436-437 


372, 373 


371-648 


370 to 374 




Pink 


580 to 585 


582, 429, 430 


647-429 


428 to 430 


Honeysuckle 


Pink 


0655 to 656 






428 to 430 




Gold Yellow 


A645to646 






436 to 439 




Old Red 


532 to 535 






371 to 374 


Hops 


Green 


0428 to 429 






432 to 435 


Hyacinth 


Pink 


581 to 584 


372 




370 to 374 




Purple 


558 to 561 


429 




428 to 431 




White 


691-682 


429 




428 to 431 


Hydrangia 


Pink 


581 to 585 


372 




371 to 374 




Pink 


540 to 544 


372 




428 to 431 


Jasmine (Cape) 


Yellow 


A645 to 648 




0432 


428 to 431 


(Star) 


White 


691-436 




645 


432 to 434 


Jonquil 


Yellow 


362 to 364-691 




372 


370 to 374 


Laurel 


Pink 


1657 to 1661* 


1661 




370 to 374 


Lilac 


Lilac 


590 to 593 


584, 591 


647 


370 to 374 




White 


688 


688 


647 


428 to 430 


Lily, Tiger 




657 to 662 


371,372,373 


649-690 


370 to 374 


Japanese 


Pink 


1657 to 1663 


429, 430 


848-662 


428 to 431 


Easter 


White 


395-396-397, 691 437, 438 




436 to 439 


Calla 


White 


689, 0682, 682 


311,312 


648 


310* to 313 


Pond 


White 


682-691 


682, 372, 373 


647 


370 to 374 


• i 


Pink 


1657 to 1661 


1659, 429, 430 


648 


428 to 431 


Lily of the Valley 


White 


691,682 


310 


310 


310* to 313 



94 



M 



HEMINWAY & SONS 



Flower 


Coior 


Shades 


Buds 


Cent res 


Foliage 


Magnolia 


Pink 


404-330 to 332 


429, 430 


0428 


0428 to 461 




White 


688-691-0682 


429, 430 


0428 


0428 to 431 


Marigold 


Yellow 


647 to 653 


432, 433 




432 to 434 




Red 


659 to 662 


827,828 




826 to 829 


Mistletoe 


Sage 


395-396 






436 to 439 


Mignonette 


Red & Green 300-301-428 


429 


645 


0428 to 431 


Morning Glory 


Blue 


565* to 562 


565, 564 




371 to 374 




Purple 


550 to 554 


550, 552 




432 to 435 




Pink 


1657 to 1661* 


1657,1601 




0428 to 431 


Narcissus 


White 


691-0682-682 


691, 682 


647-609 


370 to 374 




Yellow 


0645 to 648 




429 


0428 to 431 


Nasturtium 


Orange 


649 to 651 


649, 651 


236 


436 to 439* 




Red 


605 to 609 


606, 608 


645 


0428 to 431 




Yellow 


360 to 368 


361,363 


236 


678 to 680 


Orange Blossom 


White 


682, 691 


691 


365-366 


0428 to 431 


Orchid 


Purple 


1475 to 1481 


1477, 1481,370 


648-372 


370 to 374 




Crimson 


584 to 587 


584, 585, 0432 




0432 to 435 




Yellow 


361 to 368 


361,363,0428 




0428 to 431 




Pink 


540 to 545 


540,541,0428 


0409-429 


0428 to 431 




Lilac 


550 to 553 


550,551,370 


648-372 


370 to 374 




Nile 


395 to 397 & 691 691, 395 


648-438 


436 to 439* 


Oxalia 


White 


691-310 


310 


649, 651 


437 to 449 




Pink 


582 to 584 


583 


648 


428 to 430 




Yellow 


645 to 647 


647 


676 


432 to 434 


Pansy 


Violet 


350 to 354 


351,352 


0409-429 


0128 to 431 




Purple 


460 to 464 






0428 to 431 




Lilac 


550 to 553 


551,552 


367,433 


432 to 435 




Yellow 


362 to 366 


363, 365 


409-373 


371 to 374 




Old Rose 


231 to 234 


231,232 


368-373 


371 to 574 


Passion Flower 


Purple 


460 to 464 




647 


241 to 244 




Purple 


1477 to 1487 




364 


371 to 374 


Peony 


Pink 


541 to 543 


372, isi 3 




371 to 374 




Crimson 


584 to 587 


311,312 




310V to 313 


Fhlox 


Red 


011 to 015 






481 to 484 


Poppy (California) 


Orange 


360 to 368 


373, 372 


367-372 


370 to 373 


" (Eastern) 


Red 


0655 to 662 


659,311,312 


647,371- 
690 


310* to 313 


Primrose 


Pink 


1655 to 1661 


1657,429 


648-0428 


428 to 431 




Purple 


1477 to 1485 


1481,312 


648-371 


310* to 313 




Yellow 


360 to 367 


363, 438 


364-371 


437 to 439* 


RainDow or irridescent 




682-1479-055-363 










629 








Rhododendron 


Pink 


583 to 587 






370 to 374 




Pink 


540 to 543 






370 to 374 


Rose 


Am. Beauty 


3S1 to 3S9 


383 to 387, 429, 
430 




0428 to 431 




Jacque 


636 to 643 


638 m 640, 429, 
430 




0428 to 431 




La France 


580 to 585-682 


0582 to 583, 372, 










373 




370 to 374 




Marechal 
Niel 


360 to 368 


< 362, 363. 571, 
1 572 




570 to 573 




Wild 


1357 to 1661 


J561.438.439 


438-647 


436 to 439* 



COLOR GUIDE 



95 



Flower 



Rose 



Rose (Bride's) 

Spirea 

Strawberry 



Sumach 
Sweet Pea 



Sweet William 



Thistle 



Trumpet Vine 
Tube Rose 
Tulip 



Verbena 



Violet 



Wheat 
Wisteria 



Color 


Shades 


Buds 


Centres 


.Foliage 


Tea 


340 to 346 


342 to 345, 438 
439 




436 to 439 * 


Pink 


580 to 583 






571 to 573 


White 


691-0428-0682 






370 to 373 


Red 


' 0655 to 660 




0432 




Unripe 


0428, 428 






0432 to 435 


Flower 


691-682 


434 


647 




Berry- 


414 to 415* 








Flower 


688, 691-0428 






371 to 374 


Dark Pink 


584 to 586 


585, 586, 373 




370 to 373 


Shell Pink 


A655 to 656 


655. 656, 373 




37 1 to 374 


White 


6S8, 0682 


682, 438. 




437 to 439 


Purple 


1475 to 1481 


1477, 1479.430 




0428 to 431 


Violet 


350 to 352 


351.352,430 




0428 to 431 


Lilac 


550 to 552 


551.552.438 




437 to 439 


Red 


8 to 17 


11,13,372 




371 to 373 


Red 


636 to 640 


438 


0428 


436 to 430 


Pink 


584 to 586 


429 


428 


428 to 430 


White 


691-436 


438 


645 


436 to 439 


Purple 


1479-1487 


1485,395,398 




395 to 399 


Lilac 


590 to 593-580 to 








582 


592-370-372 




370 to 37** 


Red 


525 to 527 


526*. 372, 373 




371 to 374 


White 


688-0682 


310*. 311 




310+ to 31a 


Red 


638 to 642 


372.373,639, 










640 


373 


371 to 374 


Pink 


581 to 584 


429. 430, 0582 










582 


429 


428 to 431 


Yellow 


361 to 366 


429. 430, 362, 










363 


429 


428 to 431 


White 


691-395 


691, 436 to 438 


437 


436 to 439 


Light Pink 


1655 to 1661 




0428 


428 to 431 


Purple 


559 to 561 




0432 


432 to 435 


Red 


013 to 017 




0432 


432 to 435 


Dark Pink 


532 to 585 




676 


37 1 to 374 


Single 


350 to 355 


352, 430 


609-430 


428 to 431 


Double 


461 to 464 


463, 433 


609-433 


432 to 434 


White 


691-0682, 682 


682, 373 


609-373 


371 to 374 




360-A408 to 408* 




428 .o 431 


Purple 


1475 to 1485 


372 to 373 




371 to 374 


White 


691 


433, 434 




432 to 435 



Flame 
Pine Cone 
Pomegranite 
Palm 
Seaweed 
Smilax 
Flag Blue 
China Blue 



MISCELLANEOUS. 

605 to 607,280 to 285 

300 to 303 

232 to 0236 

310* to 313 

300 to 303, 414to415f, 370 to 314 679 to 681 

0428 to 430 

417 

290 to 294 



96 



M 



HEMINWAY & SONS 



MISCELLANEOUS— Continued. 



Convention Designs 



Oriental Effects 



Rainbow 
Opalescent 
[iridescent 
Sunshine 
Autumn Leaves 



Blue, 671 to 673, 290 to 295 

Green, 371 to 374, 682 to 6S6£ 

Browns, 390 to 394, 226 to 230 F, 280 to 285, 0408 to 412 

Terra Cottas, 413 to 416 

Grey, 1196 to 1202 

Burnt Rose, 231 to 0236 

520 to 523£, 599 to 603, 231 to 0236, 300 to 303, 570 to 573, 413 

to 415J, 280 to 285, 226 to 230D, 550 to 553, 670 to 673, 

310 to 313. Outline around the embroidered scrolls with 

black silk or gold thread. 

) These effects can be produced on conventional designs by a com- 

(bination of the following shades: 6S2 Nile Green; 1657 
Pale Pink; 0645 Canary; 1477 Lavender; 0408 Maize; 691 
Pure White; 695 Turquois; 342 Tea Rose; 634 Nile Green. 
370 to 374, 231 to 0236, 300 to 303, 678 to 680, 413 to 415*. 526 to 529 



COLLEGE COLORS. 



The shade numbers noted below are correct for the various Colleges men- 
tioned, information having been obtained through correspondence . 



Adelphi College 


Brooklyn, N. Y. 


Brown & Gold 


548. 649 


Amherst College 


Amherst, Mass. 


Purple & White 


355, 691 


Armour Inst, of Technology 


Chicago, Ills. 


Yellow & Black 


648, 690 


Boston University 


Boston, Mass. 


Scarlet & White 


013, 691 


Brown University 


Providence, R. I. 


Brown & White 


549, 691 


Columbia University 


New York City 


Lt. Blue & White 


565, 691 


Columbian University 


Washington, D. C 


Orange & Blue 


368-417 


Cornell University 


Ithaca, N. Y. 


Cardinal & White 


015-691 


Dartmouth College 


Hanover, N. H. 


Dark Green 


"Dartmouth 


Dickinson College 


Carlisle, Pa. 


Cardinal & White 


015-691 


Girard College 


Philadelphia, Pa. 


Grey & Garnet 


1200-021 


Harvard University 


Cambridge, Mass. 


Crimson 


588 


Hobart College 


Geneva. N. Y. 


Crimson 


58S 


Johns Hopkins University 


Baltimore, Md. 


Black & Blue 


690-417 


Lafayette College 


Easton, Pa. 


Garnet & White 


021-691 


Lehigh University 


Bethlehem, Pa. 


Brown & White 


394-691 


Mass. Institute Technology 


Boston, Mass. 


Cardinal & Grey 


642-1200 


Mercer University 


Macon, Ga. 


Orange & Black 


652-690 


Oberlin College 


Oberlin, Ohio 


Crimson & Gold 


587-368 


Packer Institute 


Brooklyn, N. Y. 


Garnet 


021 


Pratt Institute 


Brooklyn, N. Y. 


Yellow 


366 


Princeton University 


Princteon, N. J. 


Orange & Black 


653-690 


Smith College 


Northampton, Mass. 


White 


691 


Stanford University 


Palto Alto, Cal. 


Cardinal 


015 


Stevens Institute Technology 


Hoboken, N. J. 


Grey & Scarlet 


1200 & 011 


Syracuse University 


Syracuse, N. Y. 


Orange 


653 


Union College 


Schenectady 


Garnet 


019 


University of California 


Berkeley, Cal. 


Blue & Gold 


417-367 


University of Chicago 


Chicago, Ills. 


Maroon 


021 


University of Michigan 


Ann Arbor 


Maize & Blue 


408J-564 



COLOR GUIDE 



97 





COLLEGE COLORS- 


-Continued. 




Vassar College 


Poughkeepsie 


Light Gray and Rose 


1196-582 


Welletsley College 


Wellesley, Mass. 


Blue 


562 


Wesleyan University 


Middletown, Ct. 


Cardinal & Black 


640-090 


Williams College 


William st own, Mass. 


Royal Purple 


353 


Yale University 


New Haven. Ct,. 


Blue 


"Yale" 




[Jlove pending 

SILK. 

H HW1VWAT & SONS SILK CQ. 

^ IJCOLOfl^J 




/^vNE of the specialties made by M. Hem- 
in way & Sons Silk Co. is a sewing 
silk put up in convenient form, braided in 
needle lengths ready for use. It differs 
from the machine silk put up on spools, 
being two-ply reverse twist, and works 
smoother in hand work than does machine 
twist on spools, which is specially made for 
sewing machines. 

Made in three assortments: 

Assortment No. i. — Dark staple shades, 
including Black. 

Assortment No. 2.— Selected glove shades. 

Assortment No. 3.— Bright fancy colors, 
including White. 

Each braid contains 25 shades. 

Total number of needle lengths 432. 

Price, 30 cents, of dealers. 



TABLE OF CONTENTS. 

Animal Pillows 7° 

Auto Scarf 86 

Biedermaier Embroidery 25-27 

California Pepper 47 

California Poppy Decoration 64-65 

Carnation Decoration 66-67 

Cherries, Basket of 77 

Chrysanthemum Decoration 23-24 

Clover Centerpiece 43 

College Pillows and Designs 7 l ~73 

Corn Flower Centerpiece 33 

Coronation Braid Work 60 

Crocheted Bedroom Slippers 90 

Crocheted Sailor's Knot Tie 90 

Crocheted Suspenders 89 

Daisies 39-42 

Daisy Centerpiece 60 

Damask Wreath Doylie 29 

Dimity Collar and Cuffs 80 

Embroidery Hoops 4 and 10 1 

Eyelet Embroidery 16-17 

Fish Decoration 49~5o 

Grape Decoration 35~36 

Holly Center 63-64 

Horse's Head 58-59 

How to Distinguish Chemically Bleached Linen from Grass Bleach 5 

How to Press Embroidery 4 

Instructions for Padding 20 

Key to Corn Flower, Wild Carrot, Wheat 32 

Kimonos 78 

"Lazydazy" Decoration 48-49 

Mount Mellick Stitches 15 

Nasturtium Decoration 68-6o 

Neckties 86-88 

Novelties 79 to 85 and 90 

Opportunity of the Needlewoman 4 

Orchid and Fern Decoration 28 

Pansy Decoration 53-55 

Parts of a Flower 23 

Poinsettia Decoration 6r 

Poppy Decoration 61-63 

Reference Table 91-97 

Rooster Decoration 55-56 

Roses 36 to 38-43 to 46 

Sample Card 85 

Steps in Stitchery 6-14 

Stitches Illustrated 18-22 

Strawberries 29-32 

Syrian Embroidery 51-52 

Tiger's Head Decoration 56-58 

Trumpet Vine Centerpiece : 38 

Vase of Roses 79 

Wallachian Embroidery 73~76 

Wheat Centerpiece 35 

Wild Carrot Centerpiece 34 



e;SF>i3S'3HS'S3*v3S';3HS=<Sf«*&HS:<S^e 




A N article that can hold public favor 
for more than half a century, can 
be relied upon to give satisfaction to the 
most critical of the present generation. 
44 When you use silk use Good Silk.' 
The best stores offer you M. Heminway 
& Sons' "Sublime" Quality. 



m. fiemiitway $ Sons' Dental Tlos$. 



s 

i 

i 

j 




To be obtained at 
toilet goods counter of 
Department stores. 

Fine Size — Waxed. 
Coarse Size— Waxed. 
Medium Size— Unwaxed. 



In single spool boxes or one dozen spools in 
a box. 




has created a demand among Art Needle- 
workers for three sizes ' 'FF, " ' 'G, " 4 4 H" and l, HH" 



HITE EMBROIDERY SILK| 



W 



specially twisted for that peculiar work. 

Suitable Mount Mellick designs for embroidery on table 
covers, bureau scarfs and pillow tops are now shown by 
the stores keeping " M. HEMINWAY & SONS" 
brand of Silks. The peculiar brilliancy of all the 
Heminway Oriental Dyed Art Silks is noticeable, in this 
new Mount Mellick Silk. 




M. HEMINWAY & SONS' 

** PRACTICAL *' 

OBLONG EMBROIDERY HOOP 

SIZES 5 x 12 and V/z x 6 INCHES 
Advantages : — A convenient hand-hoop large enough in 
length to show a good sized flower, spray or design and as 
convenient to handle as a small six inch hoop. 

PRACTICAL FOR DRAWN WORK 
Sold at Art Needlework Stores, io cts.— Mailed for 12 cts. 



Important • ♦ 
Announcement 



to Consumers of 



Embroidery 
Silks. 



M. HEMINWAY & SONS SILK CO. 

Desire to caution purchasers against accepting from dealers flosses or embroidery 
silks sold as " Heminway's " that have no tickets printed " M. Heminway & Sons " 

attached to the skeins. 

THE TICKETS on the skeins of M. Heminway & Sons Art Needlework Silks 
reach the dealers in perfect condition, securely fastened and will not become de- 
tached in ordinary handling. 

MISREPRESENTATIONS have been practiced, and this notice is circulated 
that the public may be guarded against the imposition. 

INSIST that all skeins have attached tickets bearing firm name: 

"M. HEMINWAY & SONS," 

PERMANENT ORIENTAL DYES. 




Illustrated instructions for 
making this handsome chat- 
elaine bag and many others, 
as well as silk coin purses, 
watch pockets, etc., will be 
mailed to any address on 

receipt Of IOC. in Stamps. Chatelaine Bag. 

All the rules are applicable to our 

MB 1 3. 
Pvire Dye 

P\irse Twist ao\d Crochet Silk 



See tac-simile of spools as sold by representative 
stores throughout the United States. 



w-Vfcii 



Fair dealing with those who Knit 
or Crochet demands that when 
they buy a pound of Yarn they 
should get 16 ozs., just as they 
would if they bought a pound of 
tea. Weigh what you buy for 
16 ozs. and see what you get. 
You should not pay the price of 
wool — for boxes, paper and string. 

LION BRAND 
YARNS 

Are guaranteed to weigh 
16 ozs. of Wool to every 
pound, and are un- 
equalled in ap- 
pearance and r^k fjj\ 
wearing 
quality. 






"PANSY" AND "MIDNIGHT" GERMANTOWN 

LION SAXONY GERMAN KNITTING WORSTED 

SHETLAND WOOL AND FLOSS 

SPANISH, QUAKER AND GOLF YARNS 

LADY ALICE YARN 



00 r 30 19W 




Women know! 

It isn't necessary to tell them how to wash the thousand and one pretty trifles 
that come under the general name of "fancy work." They would not think of 
using ordinary laundry soap— or washing powders— or chemicals. Oh.no! 

There is a better way; a safer way— Ivory Soap and lukewarm water. 

Why Ivory Soap? Because it is pure; because it contains no "free" alkali; no 
coloring matter; no harmful ingredient of any kind. 

"APPROVED METHODS FOR HOME LAUNDERING" is a substantial and intensely practical 
little book of 68 pages. The first chapter is devoted to an explanation of the value of laundry work, from 
the standpoint ot health and comfort. Then follow chapters on Stains (with detailed directions for their re- 
moval). Fabrics, Soap, Laundry Aids, Laundry Equipment, Practical Laundry Work and Directions for 
Special Artides. The book is free. Write right away, if you would like a copy. THE PROCTER & 
Gamble Co., Cincinnati, Ohio. 



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Ivory Soap 99 4 ^<> Per Cent. P 



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